Double bill of action films telling the story of the X-Men character Wolverine. In 'X-Men Origins: Wolverine' (2009), Hugh Jackman stars as the clawed mutant Wolverine formerly known as James Logan. The film, set in the years leading up to the action of 2003's 'X-Men', follows the young Logan from the first awakenings of his mutant powers in childhood up to his rebirth as Wolverine, and recounts his tumultuous relationship with his ferocious half-brother Victor Creed, aka Sabretooth (Liev Schreiber), and the events that led him to sign up to the ominous Weapon X programme. In 'The Wolverine' (2013), at a time following the events of 'X-Men 3' (2006), Logan finds himself vulnerable, alone and at his lowest point, after losing his intimate connections with the outside world. Drawn to modern-day Japan by the gratitude of a wealthy industrialist from his past who secretly covets his healing powers, Logan soon finds himself up against the deadly charms of a femme fatale known as 'The Viper' (Svetlana Khodchenkova), whilst having to confront samurai steel and lethal ninjas as his destiny draws him towards a winner-takes-all battle with his ultimate foe The Silver Samurai (Will Yun Lee).

Melissa McCarthy, Jude Law and Allison Janney star in this action comedy written, produced and directed by Paul Feig. Susan Cooper (McCarthy) took a job at the CIA with hopes of one day becoming a field agent. Years on, she is still stuck behind a desk as an unappreciated analyst with her partner (Law) being the one getting his hands dirty. When all the top agents' identities are compromised, Susan volunteers to go deep undercover in a sting designed to capture one of the world's most notorious arms dealers. The all-star cast also includes Peter Serafinowicz, Miranda Hart, Jason Statham and Rose Byrne.

Hugh Jackman reprises his role as clawed mutant Wolverine (formerly James Logan) in this blockbuster superhero action sequel based on the Marvel Comics strip. Set at a time following 'X-Men 3' (2006), Logan finds himself vulnerable, alone and at his lowest point, after losing his intimate connections with the outside world. Drawn to modern-day Japan by the gratitude of a wealthy industrialist from his past who secretly covets his healing powers, Logan soon finds himself up against the deadly charms of a femme fatale known as 'The Viper' (Svetlana Khodchenkova), whilst having to confront samurai steel and lethal ninjas as his destiny draws him towards a winner-takes-all battle with his ultimate foe, 'The Silver Samurai' (Will Yun Lee).

The study of Theodor Adorno has largely ignored or dismissed the enigmatic and provocative moments in his writing on the body. Dialectics of the Body corrects this gap by arguing that Adorno's analysis of reified society emanates and returns to the body and that hope and desire are present throughout Adorno's philosophy.

The study of Theodor Adorno has largely ignored or dismissed the enigmatic and provocative moments in his writing on the body. "Dialectics of the Body" corrects this gap by arguing that Adorno's analysis of reified society emanates and returns to the body and that hope and desire are present throughout Adorno's philosophy.

The Rhetoric of Identity in Isocrates offers a sustained interpretation of the Isocratean corpus, showing that rhetoric is a language which the author uses to create a political identity for himself in fourth-century Athens. Dr Too examines how Isocrates' discourse addresses anxieties surrounding the written word in a democratic culture which values the spoken word as the privileged means of political expression. Isocrates makes written culture the basis for a revisionary Athenian politics and of a rhetoric of Athenian hegemony. In addition, Isocrates takes issue with the popular image of the professional teacher in the age of the sophist, combating the negative stereotype of the greedy sophist who corrupts the city's youth in his portrait of himself as teacher of rhetoric. He daringly reinterprets the pedagogue as a figure who produces a discourse which articulates political authority.

Pedagogy and Power is a volume of interdisciplinary essays which explores the political dimensions of Graeco-Roman education and of its subsequent models. Seeking to make the various structures and discourses of intellectual authority more apparent, the essays argue that there is a social context for the knowledge imparted by classical models of pedagogy. They examine how such pedagogues instruct their pupils to function as citizens who rule or are ruled, privileging certain knowledge over others, and including some individuals while excluding others. Overall the book shows that the complex and plural authorities and power that have been associated with classical learning and knowledge are not part of a legacy to be unproblematically inherited or reproduced.

This book examines ideals of classical learning in order to make a significant and provocative contribution to current and past discussions on the role of education in society--why we teach and learn what we do. Essays by classicists, historians, philosophers and literary scholars argue for seeing the history of ancient education as an aspect of political theory and history, the figure of the teacher and of the student being inevitably implicated in various structures of intellectual, social and political authority.

The rhetoric of identity in Isocrates offers a sustained interpretation of the Isocratean corpus, showing that rhetoric is a language which the author uses to create a political identity for himself in fourth-century Athens. Dr Too examines how Isocrates' discourse addresses anxieties surrounding the written word in a democratic culture which values the spoken word as the privileged means of political expression. Isocrates makes written culture the basis for a revisionary Athenian politics and of a rhetoric of Athenian hegemony. In addition, Isocrates takes issue with the popular image of the professional teacher in the age of the sophist, combating the negative stereotype of the greedy sophist who corrupts the city's youth in his portrait of himself as a teacher of rhetoric. He daringly reinterprets the pedagogue as a figure who produces a discourse which articulates political authority. This book offers an interdisciplinary approach to ancient rhetoric and should appeal to people with interests in the fields of classics, history, the history of political thought, literature, literary theory, philosophy and education. All passages in Greek and Latin have been translated to ensure accessibility to non-classicists.

This is the fourth volume in the Oratory of Classical Greece series. Planned for publication over several years, the series will present all of the surviving speeches from the late fifth and fourth centuries B.C. in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today's undergraduates, Greekless scholars in other disciplines, and the general public.

Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few.

This volume contains works from the early, middle, and late career of the Athenian rhetorician Isocrates (436-338). Among the translated works are his legal speeches, pedagogical essays, and his lengthy autobiographical defense, Antidosis. In them, he seeks to distinguish himself and his work, which he characterizes as "philosophy," from that of the sophists and other intellectuals such as Plato. Isocrates' identity as a teacher was an important mode of political activity, through which he sought to instruct his students, foreign rulers, and his fellow Athenians. He was a controversial figure who championed a role for the written word in fourth-century politics and thought.

This is an exploration of how sexual harassment came to be defined, what institutional forces and concepts shape our understanding of it and the limitations of the language used when discussing it. The book brings together essays written by feminist scholars and practitioners in the fields of law, literature, the social sciences, history and cultural studies. The contributors' central argument is for an awareness of the social and discursive contexts required to challenge sexual harrassment effectively. They offer insight into current limitations and make practical suggestions for ways forward.

This volume explores irony - in its essence, saying other than one actually means - in the collected works of Xenophon. Xenophon's Other Voice argues that there are two voices in the author: one ostensible at the level of the literal text, which is available to everyone, while the sub-title designates the other voice, which is less obvious to the reader and indeed, an ironic one. It presents a unified view of the author's entire corpus and argues that the function of Xenophontic irony is to offer critiques of the societies in which he finds himself. Rejecting both non-ironic and Straussian interpretations of Xenophon's writings, Yun Lee Too offers a wholly original perspective on the contemporary debate of how he should be read, which is underpinned by a series of incisive readings of the individual works. Beginning with Xenophon's representation of an ironic Socrates, who condemns the contemporary city and its more prominent citizens, the book moves on to consider how the author develops his own approach to irony. He deploys irony to criticize aspects of Athenian society, such as its understanding of wealth, its armed forces and sophistic education. The book then turns to his treatment of other Hellenic societies, including the Spartan city-state and laws, kingship in Syracuse and war amongst the Greek states. It finally considers Persia, covering Xenophon's depiction of Cyrus the Great and the expedition with Cyrus the Younger.

War film following a small group of young Americans as they attempt to thwart a national invasion by the North Korean army. After closing down the American electrical grid, militant North Koreans fly into the United States with the intent of gaining control of the entire country, but when US Marine Jed Eckert (Chris Hemsworth) realises what is happening he gathers a small group together, including his brother Matt (Josh Peck), at his father's log cabin in the woods. Using this as a vantage point, he then rounds up what weapons he can and proceeds to lead his own war on the invading army.

Thriller starring Will Yun Lee and Miguel Ferrer in which four assassins meet over dinner in Hong Kong, with violence very much on the menu. Though the meal begins jovially enough, with each of the killers reflecting on past hits and other exploits, tensions within the group gradually reveal themselves and, ultimately, it will be with deeds rather than words that the members of the table prove their lethal skills.

This volume explores irony - in its essence, saying other than one actually means - in the collected works of Xenophon. Xenophon's Other Voice argues that there are two voices in the author: one ostensible at the level of the literal text, which is available to everyone, while the sub-title designates the other voice, which is less obvious to the reader and indeed, an ironic one. It presents a unified view of the author's entire corpus and argues that the function of Xenophontic irony is to offer critiques of the societies in which he finds himself. Rejecting both non-ironic and Straussian interpretations of Xenophon's writings, Yun Lee Too offers a wholly original perspective on the contemporary debate of how he should be read, which is underpinned by a series of incisive readings of the individual works. Beginning with Xenophon's representation of an ironic Socrates, who condemns the contemporary city and its more prominent citizens, the book moves on to consider how the author develops his own approach to irony. He deploys irony to criticize aspects of Athenian society, such as its understanding of wealth, its armed forces and sophistic education. The book then turns to his treatment of other Hellenic societies, including the Spartan city-state and laws, kingship in Syracuse and war amongst the Greek states. It finally considers Persia, covering Xenophon's depiction of Cyrus the Great and the expedition with Cyrus the Younger.

How does one construct a role for oneself in the fourth-century democratic city? This commentary on Isocrates' Antidosis , which includes a full translation as well as an extensive introduction, demonstrates that a rhetorician may do so by assuming roles that subvert many of the conventions invoked by the genre - a non-speaker in a rhetorical community, a rhetorician in a world where rhetorical performativity has derogatory connotations, a philosopher following the trial of Socrates. Moreover, Yun Lee Too demonstrates how the narrative of 'self' in the Antidosis is to be understood as a sophisticated amalgam of literary, rhetorical, philosophical, and legal discourses.

Yun Lee Too offers a sustained reading of the social function of the body of texts we identify as 'ancient literary criticism' with major implications for how we understand this discourse and also modern criticism and literary theory. The author argues that when Greek and Roman authors discuss what and how to read in works, they are attempting to create and maintain the political community and its identity by regulating the languages available to it. Literary criticism is a process of discrimination between competing discourses, serving as a strategy by which certain forms of speech or writing may be pronounced legitimate at the expense of others. The volume traces ancient criticism from its origins in archaic Greek poetry through to the early Christian era. As well as reading the familiar texts of ancient criticism - Plato's Republic, Aristotle's Poetics, [Longinus] On the Sublime, amongst others - it shows how ancient law, history, and rhetoric participate in the critical process.