When the proprietor of an obscure museum is found dead amidst priceless Greek antiquities--one of which is missing along with the bones of a legendary hero thought to exist only in myth--museum curator Deborah Miller enters into dangerous realm of mystery, murder, and vengeance. Original.

Here is the most explosive adventure yet from the New York Times bestselling author of Atlantis and The Lost Tomb—a whiplash-inducing novel that sends marine archaeologist Jack Howard and his team on a treasure hunt . . . and a race against time to stop a terrifying threat. Greece, 1876. Renowned archaeologist Heinrich Schliemann unearths the tomb of legendary King Agamemnon and makes a mind-blowing discovery. Determined to keep it secret until the time is right, he dies before it can be revealed to the world. Germany, 1945. The liberation of a concentration camp reveals clues to the lost antiquities stolen by the Nazis. But the operation is covered up after a horrific secret surfaces. Northern Aegean, present day. Jack Howard, head of the International Maritime University, and his team discover the wreckage of the legendary Greek fleet from the Trojan War, sending shockwaves around the world. But the biggest surprise is yet to come, for Jack is on the trail not only of Agamemnon, but of Schliemann’s true discovery—and a mystery so explosive that it leads to the kidnapping of Jack’s daughter and a confrontation with a new and evil foe.

Every reader is an actor according to Rosenberg. To prepare the actor-reader for insights, Rosenberg draws on major intepretations of the play worldwide, in theatre and in criticism, wherever possible from the first known performances to the present day. The book is rich and provocative on every question about the play.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.

Thomas Knight is faced with a centuries-old mystery when he comes to be in possession of a priceless literary treasure, Shakespeare's Love's Labour's Won, a discovery that leads him all over the world, through the rarefied air of academia and into the heart of danger. Original.

Not only does the library have a long and complex history and politics, but it has an ambivalent presence in Western culture – both a site of positive knowledge and a site of error, confusion, and loss. Nevertheless, in literary studies and in the humanities, including book history, the figure of the library remains in many senses under-researched. This collection brings together established and up-and-coming researchers from a number of practices – literary and cultural studies, gender studies, book history, philosophy, visual culture, and contemporary art –with an effective historical sweep ranging from the time of Sumer to the present day. In the context of the rise of archive studies, this book attends specifically and meta-critically to the figure of the library as a particular archival form, considering the traits that constitute (or fail to constitute) the library as institution or idea, and questions its relations to other accumulative modes, such as the archive in its traditional sense, the museum, or the filmic or digital archive. Across their diversity, and in addition to their international standard of research and writing, each chapter is unified by commitment to analyzing the complex cultural politics of the library form.