George Lucas's first Star Wars trilogy shows the influences of its era; Cold War tension is evident in its theme of rebellion against totalitarianism. Recent entries in the Star Wars saga--The Phantom Menace (1999) and Attack of the Clones (2002)--are much more concerned with evil corporations, terrorists, and the corruption of the political process. Each film is influenced by the times in which it was released, but also by cultural subtexts and by other films that had direct and indirect effects on Lucas as writer, producer, and director. This work focuses on all six Star Wars films. The first topic of this multifaceted examination is how the films use the language of colonialism ("The" Rebellion, "The" Empire) to emphasize the idea of imperialism. Next the author looks at how Asian influences--including religious undertones from Taoism and Buddhism and the works of Kurosawa and other Asian filmmakers--provide a subtext for much of the action. Next the discussion turns to the representation of people of color in the Star Wars universe, and how other ethnicities are represented overall, particularly through the literalization of the word "aliens." These topics of discussion provide for penetrating conclusions about Lucas's films and how they represent race, religion, and rebellion.

“A genuinely bracing and innovative history of Rome.” —Times Literary Supplement The Triumph of Empire takes us into the political heart of imperial Rome and recounts the extraordinary challenges overcome by a flourishing empire. Roman politics could resemble a blood sport: rivals resorted to assassination as emperors rose and fell with bewildering speed, their reigns sometimes measured in weeks. Factionalism and intrigue sapped the empire from within, and imperial succession was never entirely assured. Michael Kulikowski begins with the reign of Hadrian, who visited the farthest reaches of his domain and created a stable frontier, and takes us through the rules of Marcus Aurelius and Diocletian to Constantine, who overhauled the government, introduced a new state religion, and founded a second Rome. Despite Rome’s political volatility, imperial forces managed to defeat successive attacks from Goths, Germans, Persians, and Parthians. “This is a wonderfully broad sweep of Roman history. It tells the fascinating story of imperial rule from the enigmatic Hadrian through the dozens of warlords and usurpers who fought for the throne in the third century AD to the Christian emperors of the fourth—after the biggest religious and cultural revolution the world has ever seen.” —Mary Beard, author of SPQR “This was an era of great change, and Kulikowski is an excellent and insightful guide.” —Adrian Goldsworthy, Wall Street Journal

It followed every major military victory in ancient Rome: the successful general drove through the streets to the temple of Jupiter on the Capitoline Hill; behind him streamed his raucous soldiers; in front were his most glamorous prisoners, as well as the booty he’d captured, from enemy ships and precious statues to plants and animals from the conquered territory. Occasionally there was so much on display that the show lasted two or three days. A radical reexamination of this most extraordinary of ancient ceremonies, this book explores the magnificence of the Roman triumph, but also its darker side. What did it mean when the axle broke under Julius Caesar’s chariot? Or when Pompey’s elephants got stuck trying to squeeze through an arch? Or when exotic or pathetic prisoners stole the general’s show? And what are the implications of the Roman triumph, as a celebration of imperialism and military might, for questions about military power and “victory” in our own day? The triumph, Mary Beard contends, prompted the Romans to question as well as celebrate military glory. Her richly illustrated work is a testament to the profound importance of the triumph in Roman culture—and for monarchs, dynasts and generals ever since. But how can we re-create the ceremony as it was celebrated in Rome? How can we piece together its elusive traces in art and literature? Beard addresses these questions, opening a window on the intriguing process of sifting through and making sense of what constitutes “history.”

The final book in the Valiant series takes Fallon and her warrior sisters on an epic journey from the corrupt Roman Republic to the wonder of the ancient world: Alexandria, Egypt. In the wake of their victorious fight to win back the Ludus Achillea, Fallon and her gladiatrix sisters have become the toast of the Republic. However, as a consequence of his actions during the Ludus uprising, Fallon's love Cai has been stripped of his Decurion rank and cast down to serve as one of Caesar's gladiators. Amid fighting for Cai's freedom, Fallon soon learns that Caesar's enemies are plotting against him and planning to get revenge on his fearsome gladiatrices. When Caesar is murdered by these conspirators, Fallon and the girls lose any sort of protection they once had. Fallon also realizes that the foreign queen Cleopatra is now in grave danger. Fallon rallies her war band and Cai's friends to get Cleopatra out of the city, and the group heads to the safety of Cleo's homeland, Alexandria, Egypt. Once there, the gladiatrices are promised a place of honor in the queen's elite guard, but is that what any of them really want?

Imperial Triumph presents the history of Rome at the height of its imperial power. Beginning with the reign of Hadrian in Rome and ending with the death of Julian the Apostate on campaign in Persia, it offers an intimate account of the twists and often deadly turns of imperial politics in which successive emperors rose and fell with sometimes bewildering rapidity. Yet, despite this volatility, the Romans were able to see off successive attacks by Parthians, Germans, Persians and Goths and to extend and entrench their position as masters of Europe and the Mediterranean. This books shows how they managed to do it. Professor Michael Kulikowski describes the empire's cultural integration in the second century, the political crises of the third when Rome's Mediterranean world became subject to the larger forces of Eurasian history, and the remaking of Roman imperial institutions in the fourth century under Constantine and his son Constantius II. The Constantinian revolution, Professor Kulikowski argues, was the pivot on which imperial fortunes turned - and the beginning of the parting of ways between the eastern and western empires.

At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 WTO meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core, grindcore and power violence with tempos over 800 beats per minute, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.