The saga of Caligula’s barges sunk in Lake Nemi south of Rome—how the huge vessels came to be there in the first place; why they became a cause célèbre for Mussolini’s Fascist regime; how they were, after multiple attempts, recovered from the lake bed; and why they were shortly thereafter destroyed—is, in the words of author John McManamon, a good story that is worth telling: “It has memorable characters, twists and turns in the plot, no lack of conflict and tension, and a dramatic ending where something clearly went wrong.” In From Caligula to the Nazis: The Nemi Ships in Diana’s Sanctuary, McManamon takes readers on an excursion through history to the fiery ending of the tale, a journey propelled by narrative energy and enhanced by the fruits of careful research. Related topics include Roman mythology and state religion, the erratic reign of the infamous Caligula, underwater archaeology as practiced during the Renaissance, the ideological exploitation of archaeology by Il Duce and his fascist followers, and a historical whodunit to ascertain the choices that led to the arson of the ship remains. McManamon covers every chapter in the 2,000-year history of the ships and does not ignore the mistaken interpretations that at times led subsequent researchers into blind alleys. In the end, From Caligula to the Nazis provides for both academic specialists and informed general readers the careful unwinding of a centuries-long mystery, replete with heroes, villains, gods, kings, and numerous ordinary folk swept up into the maelstrom.

The essays in New Studies on the Portrait of Caligula in the Virginia Museum of Fine Arts address art historical, historical, and cultural issues raised by one of only two surviving statues of the Roman emperor Caligula (r. 37-41 C.E.).

The Routledge Companion to Absurdist Literature is the first authoritative and definitive edited collection on absurdist literature. As a field-defining volume, the editor and the contributors are world leaders in this ever-exciting genre that includes some of the most important and influential writers of the twentieth century, including Samuel Beckett, Harold Pinter, Edward Albee, Eugene Ionesco, Jean Genet, and Albert Camus. Ever puzzling and always refusing to be pinned down, this book does not attempt to define absurdist literature, but attempts to examine its major and minor players. As such, the field is indirectly defined by examining its constituent writers. Not only investigating the so-called “Theatre of the Absurd,” this volume wades deeply into absurdist fiction and absurdist poetry, expanding much of our previous sense of what constitutes absurdist literature. Furthermore, long overdue, approximately one-third of the book is devoted to marginalized writers: black, Latin/x, female, LGBTQ+, and non-Western voices.

Law can be seen to consist not only of rules and decisions, but also of a framework of institutions providing a structure that forms the conditions of its workable existence and acceptance. In this book Olsen and Toddington conduct a philosophical exploration and critique of these conditions: what they are and how they shape our understanding of what constitutes a legal system and the role of justice within it.

Adopting an interdisciplinary approach, encompassing philosophy, literature, politics and history, John Foley examines the full breadth of Camus' ideas to provide a comprehensive and rigorous study of his political and philosophical thought and a significant contribution to a range of debates current in Camus research. Foley argues that the coherence of Camus' thought can best be understood through a thorough understanding of the concepts of 'the absurd' and 'revolt' as well as the relation between them. This book includes a detailed discussion of Camus' writings for the newspaper "Combat", a systematic analysis of Camus' discussion of the moral legitimacy of political violence and terrorism, a reassessment of the prevailing postcolonial critique of Camus' humanism, and a sustained analysis of Camus' most important and frequently neglected work, "L'Homme revolte" (The Rebel).

Samuel Beckett and the Theatre of the Witness explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body; the doubtful capacity of language as a means of communication; the aesthetic and ethical functioning of the theatre medium; and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, this study resituates Beckett's early plays in a new conceptualising of le théâtre du témoin or a 'theatre of the witness'. These are plays concerned with the epistemological and ethical uncertainties of witnessing another's pain, rather than with the sufferer's own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being's pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, Hannah Simpson argues that these plays do not offer any easily negotiable encounter with physical suffering, pushing us to recognise the very 'otherness' of another being's pain, even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another's suffering.

The bestselling author of The Last Kabbalist of Lisbon delivers a wartime thriller that’s “equal parts riveting, heartbreaking, inspiring, and intelligent” (San Francisco Chronicle). With his international-bestseller The Last Kabbalist of Lisbon, Richard Zimler made a name as a master of historical thrillers. In this chilling mystery, winner of the Marques de Ouro Prize, Zimler has woven a gripping tale in the tradition of The Shadow of the Wind. It is autumn, 1940, and the Nazis have sealed four-hundred-thousand Jews into the Warsaw Ghetto. Erik Cohen, an elderly psychiatrist, moves into a tiny apartment with his last remaining relatives. Then his beloved great-nephew Adam goes missing and his body is discovered tangled in the barbed wire, strangely mutilated. Soon afterward, another body turns up, this time a young girl. Could there be a Jewish traitor luring children to their deaths? With an unlikely hero and hair-raising suspense, The Warsaw Anagrams is a profoundly moving and darkly atmospheric thriller. “Part murder mystery and part historical fiction . . . Thrilling.” —The Boston Globe “A gripping, heartbreaking and beautiful thriller.” —Simon Sebag Montefiore, New York Times–bestselling author of The Romanovs “Spare but striking prose . . . Masterful.” —Newsday “A fast-moving, powerful and intellectual murder mystery set within wartime Warsaw Poland during World War II . . . Zimler provides layer after layer of intrigue and excitement. This is not simply a novel about the Holocaust. It is a murder mystery that will challenge the reader to uncover a frightening truth within a world turned upside down by war and genocide.” —New York Journal of Books