Thomas Harrison - Böcker

A distinguished team of internationally renowned scholars surveys the great empires from 1600 BC to AD 500, from the ancient Mediterranean to China, in ten comprehensive chapters, taking in the empires of New Kingdom Egypt; the Hittites; Assyria and Babylonia; Achaemenid Persia; Athens; Alexander; Parthian and early Sasanian Persia; Rome; India; and Qin and Han China. Each chapter conveys the main narrative of events, their impact on ancient societies and the dominant rulers who shaped that history, from Ramesses II in Egypt to Chandragupta in India, from Rome’s Augustus to China’s Shi-huangdi. Exploring the very nature of empire itself, the authors show how profoundly imperialism in the distant past influenced the 19th-century powers and the modern United States. With 38 illustrations, 28 in colour

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In an accessible writing style, Fisher and Harrison’s Substance Abuse: Information for School Counselors, Social Workers, Therapists and Counselors presents succinct, practical coverage of alcohol and other drug prevention, treatment, and recovery for generalist students, prospective mental health professionals, and allied professionals. It includes basic information on substances of abuse and focuses on clinically relevant knowledge on such topics as cultural competence, co-occurring disorders, other behavioral addictions, children and families, and ethics and confidentiality. Each chapter includes clinical application cases and questions for further discussion. The new edition inclues a new chapter on “Co-Occurring Disorders and Other Special Populations,” new information on cultural competencies and intervening with special populations such as the elderly and LGBTQQI, and new information on risk factors for alcohol and other drugs for culturally and ethnically diverse populations.

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Critics of Herodotus have generally shown an unease in the face of the religious passages of the Histories, a sense that he 'lets himself down' by delving into matters irrelevant to the proper purpose of history. They have tended consequently to latch on to isolated instances of scepticism in an attempt to vindicate Herodotus from imagined charges of obscurantism. Historians of Greek religion, on the other hand, by their concentration on ritual as the central feature of Greek religious experience, have often neglected the value of literary sources as evidence of religious belief; indeed the term belief has become something of a dirty word. In this book, the first full-length study of the subject in English, Dr Harrison not only places Herodotus' religious beliefs at the centre of his conception of history, but - by seeing instances of scepticism and of belief in relation to one another, and by the use of analogy from anthropological literature - also redresses the recent emphasis on the centrality of ritual.

Charles W. Fornara's Herodotus: An Interpretative Essay (Oxford, 1971) was a landmark publication in the study of the great Greek historian. Well-known in particular for its main thesis that the Histories should be read against the background of the Atheno-Peloponnesian Wars during which it was written, its insight and penetrating discussion extend to a range of other issues, from the relative unity of Herodotus' work and the relationship between his ethnographies and historical narrative, to the themes and motifs that criss-cross the Histories - how 'history became moral and Herodotus didactic'. Interpreting Herodotus brings together a team of leading Herodotean scholars to look afresh at the themes of Fornara's seminal Essay in the light of the explosion of scholarship on the Histories in the intervening years, focusing particularly on how we can interpret Herodotus' work in terms of the context in which he wrote. What does it mean to talk of the unity of the Histories, or Herodotus' 'moral' purpose? How can we reconstruct the context in which the Histories were written and published? And in what sense might the Histories constitute a 'warning' for his own, or for subsequent, generations? In developing and interrogating Fornara's influential ideas for a new generation of scholars, the volume also offers a wealth of insights and new perspectives on the 'Father of History' that attests to the vibrancy and diversity of contemporary engagement with Herodotus.

Critics of Herodotus have generally shown an unease in the face of the religious passages of the Histories, a sense that he 'lets himself down' by delving into matters irrelevant to the proper purpose of history. They have tended consequently to latch on to isolated instances of scepticism in an attempt to vindicate Herodotus from imagined charges of obscurantism. Historians of Greek religion, on the other hand, by their concentration on ritual as the central feature of Greek religious experience, have often neglected the value of literary sources as evidence of religious belief; indeed the term belief has become something of a dirty word. In this book, the first full-length study of the subject in English, Dr Harrison not only places Herodotus' religious beliefs at the centre of his conception of history, but by seeing instances of scepticism and of belief in relation to one another redresses the recent emphasis on the centrality of ritual, and paints a picture of Greek religion as a means for the explanation of events.

From his first publication, Aratos of Sicyon (1933), to his death in 2008, F. W. Walbank established himself as one of the leading ancient historians of the last century. His many publications - not least his three-volume commentary on the Greek historian of Roman power, Polybius - transformed the study both of Polybius and of the history of the Hellenistic world. Polybius and his World honours Walbank's achievement by bringing together a number of leading scholars in the fields of Hellenistic historiography and history.The twenty chapters, including an introduction by the volume's editors, re-examine a number of central Polybian themes: Polybius' position between Greece and Rome, his account of the Roman constitution, and the relationship of his work with Xenophon, Phylarchus, Aratus of Sicyon, and Livy (amongst others). The book looks at Polybius' text in the light of narratological perspectives and for the wealth of source material it offers for the economic historian, whilst three chapters also consider aspects of Walbank's own life and work, especially the relationship between his political commitments and his academic work, the genesis of his Polybian commentary, and the personal backdrop to his career.

Offers a philosophical history of bridges—both literal bridges and their symbolic counterparts—and the acts of cultural connection they embody.“Always,” wrote Philip Larkin, “it is by bridges that we live.” Bridges represent our aspirations to connect, to soar across divides. And it is the unfinished business of these aspirations that makes bridges such stirring sights, especially when they are marvels of ingenuity.A rich compendium of myths, superstitions, and literary and ideological figurations, Of Bridges organizes a poetic and philosophical history of bridges into nine thematic clusters. Leaping in lucid prose between distant times and places, Thomas Harrison questions why bridges are built and where they lead. He probes links forged by religion between life’s transience and eternity as well as the consolidating ties of music, illustrated by the case of the blues. He investigates bridges in poetry, as flash points in war, and the megabridges of our globalized world. He illuminates real and symbolic crossings facing migrants each day and the affective connections that make persons and societies cohere. In readings of literature, film, philosophy, and art, Harrison engages in a profound reflection on how bridges form and transform cultural communities. Of Bridges is a mesmerizing, vertiginous tale of bridges both visible and invisible, both lived and imagined.

Offers a philosophical history of bridges—both literal bridges and their symbolic counterparts—and the acts of cultural connection they embody.“Always,” wrote Philip Larkin, “it is by bridges that we live.” Bridges represent our aspirations to connect, to soar across divides. And it is the unfinished business of these aspirations that makes bridges such stirring sights, especially when they are marvels of ingenuity.A rich compendium of myths, superstitions, and literary and ideological figurations, Of Bridges organizes a poetic and philosophical history of bridges into nine thematic clusters. Leaping in lucid prose between distant times and places, Thomas Harrison questions why bridges are built and where they lead. He probes links forged by religion between life’s transience and eternity as well as the consolidating ties of music, illustrated by the case of the blues. He investigates bridges in poetry, as flash points in war, and the megabridges of our globalized world. He illuminates real and symbolic crossings facing migrants each day and the affective connections that make persons and societies cohere. In readings of literature, film, philosophy, and art, Harrison engages in a profound reflection on how bridges form and transform cultural communities. Of Bridges is a mesmerizing, vertiginous tale of bridges both visible and invisible, both lived and imagined.

Beyond coverage of mainstream 80s music, such as "hair band" hard rock, pop, new wave, and rap, this compilation of essential musical artists also covers genres like classical, jazz, outlaw country, and music theater.Popular music in the United States during the 1980s is well known for imports from abroad, such as A-ha, Def Leppard, Falco, and Men at Work, as well as homegrown American rock acts such as Guns 'N Roses, Huey Lewis and the News, Bon Jovi, and Poison. But there were many other types of genres of music that never received airplay on the radio or MTV that also experienced significant evolutions or growth in that decade.Music of the 1980s examines the key artists in specific genres of popular music: pop, hard rock/heavy metal, rock, and country. No other reference book for students has previously explored the surprisingly diverse categories of hard rock and heavy metal music with such detail and depth. Additionally, a chapter focuses on the prominent artists and composers of less-mainstream genres for specialized audiences, including music theater, jazz, and classical music.

Red Hot Chili Peppers, Goo Goo Dolls, Nirvana, Green Day, Mariah Carey, Notorious B.I.G., Billy Ray Cyrus, Backstreet Boys… the list goes on. Meet all the 1990s' essential musical artists in one insightful volume.During the 1990s, musical genres became more commercialized than ever—and that was just one of the many changes that characterized the decade. Music of the 1990s offers a detailed and wide-ranging view of the important music of the '90s, identifying the artists and the important compositions—popular, classical, and jazz—that helped shape the period. The book focuses on key artists in specific genres in popular music, including pop, hard rock/heavy metal, rock, and country. Specialized genres are examined as well, in a chapter that discusses prominent artists and composers in musical theater, jazz, popular Christian music, and classical music.Among other topics, the book looks at the growth of urban-based rap and other popular music in the context of the rise of music television. Hard rock and heavy metal are also examined within the music video idiom. New trends in mainstream rock and country music are explored as well.

The year 1910 marks an astonishing, and largely unrecognized, juncture in Western history. In this perceptive interdisciplinary analysis, Thomas Harrison addresses the extraordinary intellectual achievement of the time. Focusing on the cultural climate of Middle Europe and paying particular attention to the life and work of Carlo Michelstaedter, he deftly portrays the reciprocal implications of different discourses - philosophy, literature, sociology, music, and painting. His beautifully balanced and deeply informed study provides a new, wider, and more ambitious definition of expressionism and shows the significance of this movement in shaping the artistic and intellectual mood of the age. "1910" probes the recurrent themes and obsessions in the work of intellectuals as diverse as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Lukacs, Georg Simmel, Dino Campana, and Arnold Schoenberg. Together with Michelstaedter, who committed suicide in 1910 at the age of 23, these thinkers shared the essential concerns of expressionism: a sense of irresolvable conflict in human existence, the philosophical status of death, and a quest for the nature of human subjectivity.Expressionism, Harrison argues provocatively, was a last, desperate attempt by the intelligentsia to defend some of the most venerable assumptions of European culture. This ideological desperation, he claims, was more than a spiritual prelude to World War I: it was an unheeded, prophetic critique.

Aeschylus' "Persians" is not only the first surviving Greek drama, it is also the ony tragedy to take for its subject historical rather than mythical events: the repulse of the army of Xerxes at Salamis in 480 BC. It has frequently been mined for information on the tactics of Salamis or the Greeks' knowledge of Persian names or institutions, but it also has a broader value, one that has often been realised. What does it tell us about Greek representations of Persia, or of the Athenians' self-image? What can we glean from it of the politics of early fifth-century Athens, or of the Athenians' conception of their empire? How, if at all, can such questions be approached without doing violence to the "Persians" as a drama? What are the implications of the play for the nature of tragedy? This book provides aims to provide both a more satisfactory reading of the "Persians" and a richer picture of fifth-century history - the history both of events and of ideology.

"Iphigenia at Aulis" dramatises the myth of Iphigenia, the young virgin sacrificed by her father Agamemnon at the start of the expedition against Troy. The ongoing debates around Iphigenia's voluntary sacrifice, the corruption of the play's moral universe, and the corruption of its text make "Iphigenia at Aulis" one of Euripides' most intriguing and challenging plays. This Companion provides a summary of the plot, discusses the characters and main themes of the play, examines its mythological background, and explores the cultural, political, institutional, and theatrical contexts within which it was originally composed and performed. It also maps the changing fortunes and meanings of the play and outlines the history of its interpretations on page, stage, and screen.

Tarquinia was one of the principal cities of ancient Etruria, the most powerful nation in pre-Roman Italy, and has been at the forefront of Etruscan studies since the early days of antiquarian scholarship. The lack of Etruscan literature and problems with the interpretation of ancient sources have given archaeology a very significant role to play in understanding this elusive civilisation. Robert Leighton charts the history of the site and its interpretation, from its use in early propaganda under the Medici and other Tuscan rulers, to nineteenth-century interest in the discovery of the painted tombs, for which the site is famous, and twentieth-century concentration on the extensive prehistoric burial grounds which provide evidence for the 'proto-Etruscan' Villanovan culture. He considers the significance of Etruscan art in the Archaic period, a topic of hot debate, setting it in the context of economic organisation, long-distance trade and the important role of Tarquinia's port of Gravisca. Recent explorations of the city walls and public and religious buildings of Hellenistic and later date are also discussed.

Euripides' "Medea" is one of the greatest and most influential Greek tragedies. This book outlines the development of the Medea myth before Euripides and explores his uniquely powerful version from various angles. There are chapters on the play's relationship to the gender politics of fifth-century Athens, Medea's status as a barbarian, and the complex moral and emotional impact of her revenge. Particular attention is paid to the tragic effect of Medea's great monologue and the significance of her role as a divine avenger. The book ends by considering the varied and fascinating reception of Euripides' play from antiquity to the present day.

How should we study the democracy of classical Athens? How, if at all, is it relevant to our own world with its different forms of democracy? Attitudes to Athenian democracy have always been affectd by the circumstances of those studying it; but, after a period in which scholars professed objectivity and impartiality as their ideal, the possibility of attaining that ideal has been questioned, and ideological commitment and relevance to contemporary circumstances have returned into fashion. This book traces developments in the study of Athenian democracy, examines the different approaches adopted in recent times, and argues that the conscious pursuit of relevance makes for bad history and that, although total objectivity is unattainable, studies which make that an ideal to be approached are likely to do more justice to the subject and also to be more useful in our world.

Drawing on new research data accumulated by the authors in their fieldwork at the archaeological site at Avebury, this title examines the range of meanings and interpretations Avebury has accumulated over 4500 years.

M. Tullius Cicero was a prolific writer, his writing covering an astonishingly wide spectrum: oratory, letters, epic and didactic poetry, pamphlets, philosophical and rhetorical treatises. He was also a major political figure at Rome during the Late Republic. The relationship between these two facets of his career is the subject of this book, which argues that our understanding both of Cicero's oeuvre and of the practice and theory of public life in the Late Republic is transformed if Cicero's writings are read as a unified whole in the context of Roman politics. Writing offered Cicero a huge range of opportunities to impress himself upon an audience much wider than could be reached through the traditional mechanisms of politics at Rome; it also enabled him to construct a distinct identity in the public sphere as a substitute for his lack of political ancestry. A chapter on genre sites Cicero's writing in the late Republican context and stresses both his inventiveness and his flexibility; then the ways in which Cicero's public personas and his relationships with others are articulated in his works are considered; the book concludes with a consideration of the connections between wr

Sophocles' Electra deals with the famous story of Orestes' vengeance on his mother Clytemnestra for her murder of his father Agamemnon. This book discusses whether the matricide is a just and final act of violence, or whether Sophocles ironically implies that it is more problematic than it seems. Electra is notable among Sophocles' plays for the prominent part played in it by female characters, and especially the heroic resistance and suffering of Orestes' sister Electra. The book pays particular attention to the portrayal of Electra herself, but also discusses wider issues of dramatic characterisation and Greek ethics. Sophocles is one of the greatest masters of the medium in the history of theatre, and the book explains the formal conventions of Greek tragedy and examines various aspects of his skill as a dramatist. The book concludes with an examination of later adaptations of the play, of which the most important is that by Hugo von Hofmannsthal (1903), a study in extreme psychology which he adapted to form the libretto for Richard Strauss's opera Elektra.

Aeschylus' Persians is the earliest extant Greek tragedy and sole surviving historical tragedy. Produced in 472 BC, the play tells the story of the defeat of the Persian king Xerxes in his attempt to expand his empire by conquering Greece and his return in rags to Persia to face the condemnation of his elders. The first product of the Western imagination to represent the causes and limits of imperialist conquest, the Persians is particularly relevant today. The play is rich in verbal and visual imagery and unflinching in its depiction of the horrors of a defeated invasion and the glory of a successful defence. But the Persians is not merely a paean to Western freedom, democracy, courage and technological supremacy; it is a meditation on the tendency inherent in wealth, power and success to take on a momentum of their own and to push societies to the brink of ruin.

Accessible introductions to ancient tragedies discuss the main themes of a play and the central developments in modern criticism, while also addressing the play's historical context and the history of its performance and adaptation. References to Dionysus in popular culture focus on the god as the incarnation of wild and decadent behaviour, by which humans are intrigued and appalled. The god as he is portrayed in "Euripides' Bacchae" is, however, more complex, paradoxically transcending straightforward notions of the Dionysiac. "Euripides' Dionysus" blurs the dividing line between many of the fundamental categories of ancient Greek life - male and female, Greek and barbarian, divine and human. This book explores his place in Athenian religion, what Euripides makes of him in the play, and the views of later writers and scholars.

Prometheus Bound is a play beloved of revolutionaries, romantics and rebels, with a fierce optimism tempered by an acute awareness of the compromises, dangers and obsessions of political action. This companion sets the play in its historical context, explores its challenge to authority, and traces its reception from the sixteenth to the twentieth century. Many scholars have disputed its Aeschylean authorship, but it has proved the most influential of tragedies outside academia. Marx's favourite tragedy, Prometheus Bound is also a foundational text for the genre of science fiction through its influence on Mary Shelley's Frankenstein. In its open-eyed celebration of technology and democracy, it is the tragedy for the modern age.

In his final play, Sophocles returns to the ever-popular character of Oedipus, the blind outcast of Thebes, the ultimate symbol of human reversal, whose fall he had so memorably treated in the 'Oedipus Tyrannus'. In this play, Sophocles brings the aged Oedipus to Athens, where he seeks succour and finds refuge, despite the threatening arrival of his kinsman Creon, who tries to tempt and then force the old man back under Theban control. Oedipus' resistance shows a fierceness in no way dimmed by incapacity, but he also refuses to aid his repentant son, Polyneices, in his coming attack on Thebes, manifesting once more the passion and harshness which mark his character so thoroughly. His mysterious death at the end of the play, witnessed only by Theseus himself, seems the sole fitting end for such an exceptional and problematic figure, transforming Oedipus into one of the 'powerful dead' whose beneficence towards Athens heralds a positive future for the city. This useful companion provides background, context, a synopsis and detailed analysis of the play.

The history of the Achaemenid Persian empire has been largely rewritten in the last thirty years by an international group of scholars, inspired partly by new sources of information, but also by a concerted attempt to look at Ancient Persia in its own terms, rather than through the lens of neighbouring societies, and to excise the pejorative bias of the Greek sources. This essay is a critique of this new Achaemenid historiography, concentrating on the difficulties of using Greek sources for the writing of Persian history. It argues that the excising of Greek bias should be seen to be, if possible at all, a much more complex procedure. It then examines two themes in more detail: the representation of the Kings and Queens (in Greek sources and in recent histories of Persia), and the accounts given of the Persian Wars and the conquests of Alexander. It concludes with an analysis of past versions of Persian history, suggesting that there is a much greater degree of continuity between earlier accounts of Persia (often derided as narrowly Hellenocentric or orientalist) and those of the new Achaemenid historiography.

How did the Greeks view foreign peoples? This book considers what the Greeks thought of foreigners and their religions, cultures and politics, and what these beliefs and opinions reveal about the Greeks. The Greeks were occasionally intrigued by the customs and religions of the many different peoples with whom they came into contact; more often they were disdainful or dismissive, tending to regard non-Greeks as at best inferior, and at worst as candidates for conquest and enslavement. Facing up to this less attractive aspect of the classical tradition is vital, Thomas Harrison argues, to seeing both what the ancient world was really like and the full nature of its legacy in the modern. In this book he brings together outstanding European and American scholarship to show the difference and complexity of Greek representations of foreign peoples – or barbarians, as the Greeks called them – and how these representations changed over time.The book looks first at the main sources: the Histories of Herodotus, Greek tragedy, and Athenian art. Part II examines how the Greeks distinguished themselves from barbarians through myth, language and religion. Part III considers Greek representations of two different barbarian peoples – the allegedly decadent and effeminate Persians, and the Egyptians, proverbial for their religious wisdom. In part IV three chapters trace the development of the Greek–barbarian antithesis in later history: in nineteenth-century scholarship, in Byzantine and modern Greece, and in western intellectual history.Of the twelve chapters six are published in English for the first time. The editor has provided an extensive general introduction, as well as introductions to the parts. The book contains two maps, a guide to further reading and an intellectual chronology. All passages of ancient languages are translated, and difficult terms are explained.

How did the Greeks view foreign peoples? This book considers what the Greeks thought of foreigners and their religions, cultures and politics, and what these beliefs and opinions reveal about the Greeks. The Greeks were occasionally intrigued by the customs and religions of the many different peoples with whom they came into contact; more often they were disdainful or dismissive, tending to regard non-Greeks as at best inferior, and at worst as candidates for conquest and enslavement. Facing up to this less attractive aspect of the classical tradition is vital, Thomas Harrison argues, to seeing both what the ancient world was really like and the full nature of its legacy in the modern. In this book he brings together outstanding European and American scholarship to show the difference and complexity of Greek representations of foreign peoples – or barbarians, as the Greeks called them – and how these representations changed over time.The book looks first at the main sources: the Histories of Herodotus, Greek tragedy, and Athenian art. Part II examines how the Greeks distinguished themselves from barbarians through myth, language and religion. Part III considers Greek representations of two different barbarian peoples – the allegedly decadent and effeminate Persians, and the Egyptians, proverbial for their religious wisdom. In part IV three chapters trace the development of the Greek–barbarian antithesis in later history: in nineteenth-century scholarship, in Byzantine and modern Greece, and in western intellectual history.Of the twelve chapters six are published in English for the first time. The editor has provided an extensive general introduction, as well as introductions to the parts. The book contains two maps, a guide to further reading and an intellectual chronology. All passages of ancient languages are translated, and difficult terms are explained.