Book XIV of Martial's epigrams, the Apophoreta, derives its name from the presents hosts gave 'to be carried away' by their guests at the Roman Saturnalia. The book comprises poetic couplets designed to accompany such presents and arranged so as to describe, alternately, the gifts of rich and poor. It is a unique source of information about one of the principal Roman festivals and about many of the everyday objects of first-century Roman life; yet until now it has attracted scant attention. This edition, while dealing comprehensively with matters of literary, linguistic and textual note, concerns itself also with the social context of the Apophoreta and the gifts it describes. It is a rich source of information not only for specialists in Latin epigram and the literature of the Flavian period, but also for historians and archaeologists, and indeed anyone with an interest in the life and customs of Imperial Rome.

Ever since the author Paul Kieve was given a magic set at the age of ten, he has been buying magic books, props and posters and honing his skills as a magician. He keeps all his magical paraphenalia in his house in Hackney, right around the corner from the magnificent Hackney Empire, a venue played at by all the great illusionists of the golden era of magic, some hundred years ago. One day, as Paul is on the phone to his friend, sitting in his 'Poster Room', chatting to a friend about how well his magic show went from the night before, he gets a strange sensation ...Suddenly, the huge figure of Alexander steps out of the poster and starts telling Paul off for getting too big-headed! Alexander and the other brilliant magicians in the posters are going to show Paul what magic is really about!

Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy. In Women in the Shadows, Jennifer Goodlander draws on her own experience training as a dalang as well as interviews with early women dealing and leading artists to upend the usual assessments of such gender role shifts. She argues that rather than assuming that women performers are necessarily mounting a challenge to tradition, "tradition" in Bali must be understood as a system of power that is inextricably linked to gender hierarchy. She examines the very idea of "tradition" and how it forms both an ideological and social foundation in Balinese culture, and ultimately, Goodlander offers a richer, more complicated understanding of both tradition and gender in Balinese society. Following in the footsteps of other eminent reflexive ethnographers, Women in the Shadows will be of value to anyone interested in performance studies, Southeast Asian culture, or ethnographic methods.

This unique book is about a special group of alloys (safe & non-toxic) that can be used to create numerous magical effects, from vanishing (or bending or penetrating) a spoon, to mentally melting coins in the hands of spectators - even card peeks and locations using gallium. All of the listed effects are constructed in the psychology and techniques of Max Malini (the greatest impromptu magician of all time), designed for thoughtful magicians, playful pranksters and curious minded individuals. Each novel application is presented in easy-to-understand details and do-it-yourself projects.

Indonesia is blessed with vast and unique arts and culture-a result of being a melting pot of different cultures that ever visited the archipelago for centuries. One form of performance art that came from China and was warmly received in Java is Wayang Potehi. This hand-puppet performance art went through its own up and downs over the centuries from political circumstances and, yet, today still maintains it original format despite the fact that majority of the artists are now Javanese."WAYANG POTEHI OF JAVA" is a premium coffee-table book that aims to introduce the artistry of the past and current artists to the contemporary Indonesian and international audience. It is also a form of an invitation for Indonesians to appreciate and be proud of Wayang Potehi as a part of the nation's art and culture.Wayang Potehi is an iconic art form of Chinese puppet theatre in Indonesia. In the beginning, its existence was constrained mostly within Chinese temples in Java. But in 1967, the repression of Chinese under the New Order government in Indonesia for 33 years restricted and prohibited its activities and almost killed its existence. Wayang Potehi came back alive during the presidency of Abdurrahman Wahid and now it can be performed without any restrictions.Today, people-Chinese or non-Chinese, elderly or young-are keen on watching Wayang Potehi shows. Many of them idolize and discuss over its main characters such as Sie Djin Koei, Tek Djing, Kwan Kong etc. It slowly gains its popularity back. In rural areas such as Mojoagung, Gudo and Blitar, Wayang Potehi shows are watched mostly by natives. Even the artists (from the puppeteer, musician and puppetmaker) are majority Javanese and Moslem. Although the number of puppetmakers is pretty small, they all have their own unique perception and taste in their creations.Wayang Potehi went through a tremendous adaptation with the local culture during its proliferation and evolution in Java influenced by societal trends and power in politics. Nonetheless, the format and the elements of its original, root traditions embedded in the structure and the flow of the performance, as well as the look and shape of the puppets are still well maintained. It all formed what is called today: WAYANG POTEHI OF JAVA.