Even in the panoply of Roman history, Hadrian stands out. Emperor from 117 to 138 ad, he was at once a benevolent ruler and a ruthless military leader, known for his restless and ambitious nature, his interest in architecture, and his passion for Greek culture. This book moves beyond the familiar image of Hadrian to offer a new appraisal of this Emperor’s contradictory personality, his exploits and accomplishments, his rule, and his military role, against the backdrop of his twenty-one-year reign.

Lavishly illustrated with key works of art and objects, celebrated and little-known sculptures, bronzes, coins and medals, drawings, and watercolors from museums around the globe, the book conveys a vivid sense of the world Hadrian inhabited. Thorsten Opper shows the emperor from many angles—as a complex individual, as a military leader and strategist, as the amateur architect who created magnificent buildings such as his villa at Tivoli (an empire in miniature), as the lover who deified his male lover Antinous after his mysterious death in the Nile, and, finally, as the traveler who tirelessly roamed his empire and its boundaries.

From his place in Roman history to his legacy, which even makes its way into the popular culture of our day, the Hadrian who emerges from these pages is no longer larger than life; rather, he has all the depth and complexity, the color and shadings and detail of life itself.

The tenth volume in the Indiana Historical Society Press’s celebrated Youth Biography Series examines the life of a man who helped define college basketball in the twentieth century and became an icon of American sports—John Wooden. He was born in the small Indiana town of Martinsville near the start of the last century. His claim to fame came first as an accomplished athlete, helping his high school basketball team compete in three state championship games, then earning All-American honors three times in his home state as a starting guard at Purdue University. After briefly teaching high school English and coaching several sports in Dayton, Kentucky, Wooden returned to Indiana, where he launched a successful career coaching basketball at South Bend Central High School and later at Indiana State Teachers College (now Indiana State University) in Terre Haute. In 1948, at age thirty-seven, Wooden moved west, as did many Americans in the post-World War II era. He took over the head basketball job at the University of California at Los Angeles, a school with virtually no basketball tradition. He took his family and his coaching skills with him. He also took his midwestern values. For the next six decades he remained in Southern California, creating a basketball dynasty at UCLA and solidifying his place as one of the sporting world’s greats. When he died on June 4, 2010, at the Ronald Reagan UCLA Medical Center, he was four months shy of his hundredth birthday. Wooden’s success as a college coach was unprecedented and, in pure numbers, staggering. From 1964 to 1975, he led the UCLA Bruins men’s basketball team to ten National Collegiate Athletic Association national basketball championships, including seven in a row—a feat that may never be matched. During that string of championships, he coached the Bruins to four perfect 30–0 seasons, an NCAA men’s record that still stands. He also coached UCLA to an eighty-eight-game winning streak, yet another unrivaled men’s record. Over the course of his twenty-seven seasons at UCLA, he mentored All-Americans such as Kareem Abdul-Jabbar and Bill Walton, earned the respect of legions of players, and inspired countless would-be roundballers and coaches alike. These achievements put Wooden in the company of legendary coaches throughout the field of sports. Even in that elite company, he fared especially well. In 2009 Sporting News magazine asked more than one hundred coaches and sports experts to name the greatest coach of all time in any sport. Not surprisingly, coaching giants such as the Green Bay Packers’s Vince Lombardi, Notre Dame’s Knute Rockne, the Boston Celtics’s Red Auerbach, and New York Yankees’s Casey Stengel ranked in the top ten; Wooden stood at number one the list. Long before that ranking, however, awards and honors flowed Wooden’s way. In 1973 he was inducted into the Naismith Basketball Hall of Fame as coach, making him the first to be honored as both a player and a coach. (He received the honor as a player in 1960.) In 1977 college basketball’s annual player-of-the-year award was named for him. The NCAA bestowed its highest honor, the Theodore Roosevelt award, on Wooden in 1995. And in 2006 the National Collegiate Basketball Hall of Fame in Kansas City, Missouri, honored him as a member of the founding class, along with basketball inventor Doctor James Naismith. Accolades also poured in from outside the sports world. In 2003 President George W. Bush awarded Wooden the Presidential Medal of Freedom, American’s highest civilian honor. Two years later, Indiana bestowed on him its highest honor, the Sachem, an award recognizing a lifetime of excellence and virtue. In earlier decades, entities ranging from service clubs to faith-based organizations to universities rushed to salute not only his accomplishments but also his character.

Brothers Anton and Tolik reunite at their family home to bury their recently deceased mother. An otherwise natural ritual unfolds under extraordinary circumstances: their house is on the front line of a war ignited by Russian-backed separatists in eastern Ukraine. Isolated without power or running water, the brothers’ best hope for success and survival lies in the declared cease fire—the harvest truce. But such hopes are swiftly dashed, as it becomes apparent that the conflagration of war will not abate.

With echoes of Waiting for Godot, Serhiy Zhadan’s A Harvest Truce stages a tragicomedy in which the commonplace experiences of death, birth, and the cycles of life marked by the practices of growing and harvesting food are rendered futile and farcical in the wake of the indifferent juggernaut of war.

The man whom Indian nationalists perceived as the “George Washington of India” and who was President of the Indian National Congress in 1938–1939 is a legendary figure. Called Netaji (“leader”) by his countrymen, Subhas Chandra Bose struggled all his life to liberate his people from British rule and, in pursuit of that goal, raised and led the Indian National Army against Allied Forces during World War II. His patriotism, as Gandhi asserted, was second to none, but his actions aroused controversy in India and condemnation in the West.

Now, in a definitive biography of the revered Indian nationalist, Sugata Bose deftly explores a charismatic personality whose public and private life encapsulated the contradictions of world history in the first half of the twentieth century. He brilliantly evokes Netaji’s formation in the intellectual milieu of Calcutta and Cambridge, probes his thoughts and relations during years of exile, and analyzes his ascent to the peak of nationalist politics. Amidst riveting accounts of imprisonment and travels, we glimpse the profundity of his struggle: to unite Hindu and Muslim, men and women, and diverse linguistic groups within a single independent Indian nation. Finally, an authoritative account of his untimely death in a plane crash will put to rest rumors about the fate of this “deathless hero.”

This epic of a life larger than its legend is both intimate, based on family archives, and global in significance. His Majesty’s Opponent establishes Bose among the giants of Indian and world history.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

March of the emperors.

The Historia Augusta is a biographical work roughly following the model of the imperial biographer Suetonius (LCL 31, 38) and covering the lives of the Roman emperors from Hadrian (r. 117–138) to Carinus (r. 283–285), with a lacuna between the lives of the Gordians and the Valerians. Although the work comes down to us as a collection of thirty books written by six different authors, it is now generally considered to be the creation of a single individual writing under several pseudonyms no earlier than the late fourth century. It is a thoroughly enigmatic work whose origins, nature, and purpose remain obscure; the very beginning of the life of Hadrian is lost, and with it any general introduction that may have existed.

While the Historia Augusta is our most detailed surviving source for the second and third centuries, often providing details beyond the Greek accounts, it is not a trustworthy source for historical information: too many of the details are anachronistic, unsupported, or preposterous, or contradicted internally or by better sources, and many documents, speeches, acclamations, and inscriptions that it quotes or cites are entirely fictional.

The Historia Augusta nevertheless has its attractions: for the connoisseur of biography the author provides plenty of wordplay, puns, allusions, literary games, and mock-scholarly digressions, and for the casual reader he offers vivid characterizations of emperors both good and bad.

This revision of the original Loeb edition by David Magie offers text, translation, and annotation that are fully current with modern scholarship.

The first comprehensive collection of texts on the conservation of art and architecture to be published in the English language. The book consists of forty-six texts, some never before in English and many originally published only in obscure or foreign journals.

The thirty major art historians and scholars represented raise questions such as when to restore, what to preserve, and how to maintain aesthetic character. Excerpts have been selected from the following books and essays: John Ruskin, The Seven Lamps of Architecture; Bernard Berenson, Aesthetics and History in the Visual Arts; Clive Bell, The Aesthetic Hypothesis; Cesare Brandi, Theory of Restoration; Kenneth Clark, Looking at Pictures; Erwin Panofsky, The History of Art as a Humanistic Discipline; E. H. Gombrich, Art and Illusion; Marie Cl. Berducou, The Conservation of Archaeology; and Paul Philippot, Restoration from the Perspective of the Social Sciences. The fully illustrated book also contains an anannotated bibliography and an index.

A literary cabinet of curiosities.

Aelian’s Historical Miscellany is a pleasurable example of light reading for Romans of the early third century. Offering engaging anecdotes about historical figures, retellings of legendary events, and enjoyable descriptive pieces—in sum: amusement, information, and variety—Aelian’s collection of nuggets and narratives could be enjoyed by a wide reading public. A rather similar book had been published in Latin in the previous century by Aulus Gellius; Aelian is a late, perhaps the last, representative of what had been a very popular genre.

Here then are anecdotes about the famous Greek philosophers, poets, historians, and playwrights; myths instructively retold; moralizing tales about heroes and rulers, athletes and wise men; reports about styles in dress, food and drink, lovers, gift-giving practices, entertainments, religious beliefs and death customs; and comments on Greek painting. Some of the information is not preserved in any other source. Underlying it all are Aelian’s Stoic ideals as well as this Roman’s great admiration for the culture of the Greeks (whose language he borrowed for his writings).

The Historical Miscellany is now added to the Loeb Classical Library, the Greek text facing a skillful and helpfully annotated new translation by Nigel Wilson. In his trenchant Introduction he discusses the literary genre of Aelian’s miscellany, its style and historical setting.

Adventurous history.

Quintus Curtius was apparently a rhetorician who lived in the first century of the Roman empire and, early in the reign of Claudius (AD 41–54), wrote a history of Alexander the Great in ten books in clear and picturesque style for Latin readers. The first two books have not survived—our narrative begins with events in 333 BC—and there is material missing from books 5, 6, and 10. One of his main sources is Cleitarchus who, about 300 BC, had made Alexander’s career a matter of marvelous adventure.

Curtius is not a critical historian; and in his desire to entertain and to stress the personality of Alexander, he elaborates effective scenes, omits much that is important for history, and does not worry about chronology. But he does not invent things, except speeches and letters inserted into the narrative by traditional habit. “I copy more than I believe,” he says. Three features of his story are narrative of exciting experiences, development of a hero’s character, and a disposition to moralize. His history is one of the five extant works on which we rely for the career of Alexander the Great.

The Loeb Classical Library edition of Quintus Curtius is in two volumes.

Adventurous history.

Quintus Curtius was apparently a rhetorician who lived in the first century of the Roman empire and, early in the reign of Claudius (AD 41–54), wrote a history of Alexander the Great in ten books in clear and picturesque style for Latin readers. The first two books have not survived—our narrative begins with events in 333 BC—and there is material missing from books 5, 6, and 10. One of his main sources is Cleitarchus who, about 300 BC, had made Alexander’s career a matter of marvelous adventure.

Curtius is not a critical historian; and in his desire to entertain and to stress the personality of Alexander, he elaborates effective scenes, omits much that is important for history, and does not worry about chronology. But he does not invent things, except speeches and letters inserted into the narrative by traditional habit. “I copy more than I believe,” he says. Three features of his story are narrative of exciting experiences, development of a hero’s character, and a disposition to moralize. His history is one of the five extant works on which we rely for the career of Alexander the Great.

The Loeb Classical Library edition of Quintus Curtius is in two volumes.

A fresh, stimulating look at Adolf Hitler and his dictatorship throughout the study of ten key aspects.
 
Hitler’s tyranny is still difficult to understand today. In this book, Ralf Georg Reuth examines ten aspects of this catastrophe. Among other things, he asks: Was anti-Semitism more pronounced in Germany than elsewhere? Was Versailles really responsible for Hitler’s rise and why did the Germans follow a racial fanatic like him? How did his war differ from all others before it? The disturbing answers provide an overall picture that shows Hitler was not the consequence of the depths of German history, but the result of chance, deception, and seduction.

This thought-provoking new study takes aim at several of the norms of Hitler scholarship from the past forty years. Reuth interrogates and challenges a range of orthodox views on such topics as how mainstream politicians facilitated Hitler’s rise to power, the Führer’s infamous pact with Stalin, and the complicity of ordinary Germans in his genocidal tyranny. Eschewing a conventional chronological approach in favor of a forensic analysis of Hitler’s mainsprings of action both as chancellor and military commander, Reuth portrays Hitler as the apotheosis of what he argues is a specifically German strain of militarism and imperialism, shifting the focus firmly back to the mindset and modus operandi of Hitler himself. The portrait that emerges is one of a murderous fantasist and political opportunist driven by an all-embracing ideology of racial superiority. Reuth’s account courts controversy on a number of points and offers a fascinating counterpoint to much recent scholarship.
 

An 11 year-old boy moves with his parents who have been evicted from a family farm in Wisconsin to live near his maternal grandparents in central Illinois. There, he discovers abandoned mine shafts which he explores with his grandfather's dog that suffers from flatulence. A stranger in town, the narrator is keenly aware of his outsider status and takes refuge in family, the dog, and his secret place in one of the abandoned coal mine shafts cut into the bank of the river bottoms under his grandparent's house. His acumen as an explorer comes in handy when another student--son of the local banker--goes missing.

This book is specifically dedicated to film history’s own history: It provides insights into the fabrication of film histories and the discourses on their materials and methods in the past in order to better understand and reconsider film history today. The interventions unpack unspoken assumptions and hidden agendas that determine film historiography until today, also with the aim to act as a critical reflection on the potential future orientation of the field. The edited volume proposes a transnational, entangled and culturally diverse approach towards an archaeology of film history, while paying specific attention to persons, objects, infrastructures, regions, institutional fields and events hitherto overlooked. It explores past and ongoing processes of doing, undoing and redoing film history. Thereby, in a self-reflective gesture, it also draws attention to our own work as film historians.

These chapters by eight Korea specialists present a new approach to human rights issues in Korea. Instead of using an external and purely contemporary standard, the authors work from within Korean history, treating the successive phases of Korea’s modern century to examine the uneasy fate of human rights and some of the ideas of human rights as they have developed in the Korean context. Beginning with the Independence Club of the late nineteenth century and continuing through to the constitutional and judicial structures underlying the Sixth Republic Government of Roh Tae Woo in South Korea, these papers illuminate the sometimes complex interactions between modern Korean human-rights issues and the legacies of Korean culture and colonial occupation.

The contributors provide a corrective to two common errors: one, an overemphasis on the tension between residual Confucian culture and human-rights concepts; two, the opposite error, a defensive nationalism that gives rise to ill-founded efforts to identify democratic antecedents in the Korean past. Instead, these authors allow each episode in the emergence of Korean human rights thought and action to stand in the context of its own time and of Korea’s modern history. The final sections deal with the usefulness and appropriateness of U.S. policies toward human rights in South Korea and comparatively with the overall issues raised in the volume.

Constantijn Huygens was a poet, composer and connoisseur of art and the classics. He was also secretary and confidant to three princes of Orange for 62 years. Hofwijck was also the place where Constantijn’s son Christiaan spent a significant part of his life. Christiaan Huygens was a member of the Royal Society of London for the Improvement of Natural Knowledge and became one of the greatest inventors and scientists. At the end of his life, at Hofwijck, he wrote Cosmotheoros, his magnum opus on the universe. At Huygens’s Hofwijck we look at the seventeenth century through the eyes of these two versatile men. With Constantijn and Christiaan, the story is about literature, art, music, politics, the House of Orange, science and life at a seventeenth-century country estate.