Based on historical fact, "George Washington's Boy," written by Ted Lange, portrays the fight for freedom, the Declaration of Independence, and the first presidency of the United States from the viewpoint of one of George Washington's closest confident, ironically, his slave, Billy Lee. Billy Lee served his master throughout these monumental times and was privy to the innermost thoughts and actions of Washington.

Church rituals were a familiar feature of life throughout much of the Anglo-Saxon period. In this innovative study, Helen Gittos examines ceremonies for the consecration of churches and cemeteries, processional feasts like Candlemas, Palm Sunday, and Rogationtide, as well as personal rituals such as baptisms and funerals. Drawing on little-known surviving liturgical sources as well as other written evidence, archaeology, and architecture, she considers the architectural context in which such rites were performed. The research in this book has implications for a wide range of topics, such as: how liturgy was written and disseminated in the early Middle Ages, when Christian cemeteries first began to be consecrated, how the form of Anglo-Saxon monasteries changed over time and how they were used, the centrality and nature of processions in early medieval religious life, the evidence church buildings reveal about changes in how they functioned, beliefs about relics, and the attitudes of different archbishops to the liturgy. Liturgy, Architecture, and Sacred Places in Anglo-Saxon England will be of particular interest to architectural specialists wanting to know more about liturgy, and church historians keen to learn more about architecture, as well as those with a more general interest in the early Middle Ages and in church buildings.

Russia in Britain offers the first comprehensive account of the breadth and depth of the British fascination with Russian and Soviet culture, tracing its transformative effect on British intellectual life from the 1880s, the decade which saw the first sustained interest in Russian literature, to 1940, the eve of the Soviet Union's entry into the Second World War. By focusing on the role played by institutions, disciplines and groups, libraries, periodicals, government agencies, concert halls, publishing houses, theatres, and film societies, this collection marks an important departure from standard literary critical narratives, which have tended to highlight the role of a small number of individuals, notably Sergei Diaghilev, Constance Garnett, Theodore Komisarjevsky, Katherine Mansfield, George Bernard Shaw and Virginia Woolf. Drawing on recent research and newly available archives, Russia in Britain shifts attention from individual figures to the networks within which they operated, and uncovers the variety of forces that enabled and structured the British engagement with Russian culture. The resulting narrative maps an intricate pattern of interdisciplinary relations and provides the foundational research for a new understanding of Anglo-Russian/Soviet interaction. In this, it makes a major contribution to the current debates about transnationalism, cosmopolitanism and 'global modernisms' that are reshaping our knowledge of nineteenth- and early twentieth-century British culture.

Using the Braudelian concept of the Mediterranean this volume focuses on the condition of "coastal exchanges" involving the Dalmatian littoral and its Adriatic and more distant maritime network. Spalato and Ragusa intersect with Constantinople, Cairo and Spanish Naples just as Sinan, Palladio and Robert Adam cross paths in this liquid expanse. Concentrating on materiality and on the arts, architecture in particular, the authors identify portability and hybridity as characteristic of these exchanges, and tease out expected and unexpected serendipitous moments when they occurred. Focusing on translation and its instruments these essays expand the traditional concept of influence by thrusting mobility and the "hardware" of cultural transmission, its mechanisms, rather than its effects, into the foreground. Contributors include: Doris Behrens-Abouseif, SOAS, University of London; Josko Belamaric, Institute of Art History, Split; Marzia Faietti, Uffizi, Florence; Jasenka Gudelj, University of Zagreb; Cemal Kafadar, Harvard University; Ioli Kalavrezou, Harvard University; Suzanne Marchand, State University of Louisiana; Erika Naginski, Harvard University; Gulru Necipoglu, Harvard University; Goran Niksic, City of Split, Split; Alina Payne, Harvard University; Avinoam Shalem, Columbia University and David Young Kim, University of Pennsylvania