Jonathan Harris' new edition of the CHOICE Outstanding Academic Title, Constantinople, provides an updated and extended introduction to the history of Byzantium and its capital city. Accessible and engaging, the book breaks new ground by exploring Constantinople's mystical dimensions and examining the relationship between the spiritual and political in the city. This second edition includes a range of new material, such as: * Historiographical updates reflecting recently published work in the field * Detailed coverage of archaeological developments relating to Byzantine Constantinople * Extra chapters on the 14th century and social 'outsiders' in the city * More on the city as a centre of learning; the development of Galata/Pera; charitable hospitals; religious processions and festivals; the lives of ordinary people; and the Crusades * Source translation textboxes, new maps and images, a timeline and a list of emperors It is an important volume for anyone wanting to know more about the history of the Byzantine Empire.

This new edition of "Byzantium and the Crusades" provides a fully-revised and updated version of Jonathan Harris's landmark text in the field of Byzantine and crusader history.The book offers a chronological exploration of Byzantium and the outlook of its rulers during the time of the Crusades. It argues that one of the main keys to Byzantine interaction with Western Europe, the Crusades and the crusader states can be found in the nature of the Byzantine Empire and the ideology which underpinned it, rather than in any generalised hostility between the peoples.Taking recent scholarship into account, this new edition includes an updated notes section and bibliography, as well as significant new additions to the text: - New material on the role of religious differences after 1100- A detailed discussion of economic, social and religious changes that took place in 12th-century Byzantine relations with the west- In-depth coverage of Byzantium and the Crusades during the 13th century- New maps, illustrations, genealogical tables and a timeline of key dates"Byzantium and the Crusades" is an important contribution to the historiography by a major scholar in the field that should be read by anyone interested in Byzantine and crusader history.

Jonathan Harris's classic text chronologically surveys Byzantine history in the time of the Crusades. The book reveals the attitudes of the Byzantine ruling elites towards the Crusades and their ultimate inability to adapt to the challenges this presented. Using evidence amassed in a wealth of primary sources, Harris successfully makes the point that Byzantine interactions with Western Europe, the Crusades and the crusader states is best understood in the nature of the Byzantine Empire and the ideology which underpinned it, rather than in any generalised hostility between the peoples. Incorporating recent scholarship, this 3rd edition has 25 further images, as well as additional maps and genealogical tables. This new edition also comes with two significant additions to the text: * Appendix I sees the inclusion of seven critical Latin primary sources taken from across three centuries. Translated by the author, these sources are then discussed in detail, providing multiple first-hand perspectives on the subject in the process * Appendix II provides assessments of various representations of the subject in key fiction and non-fiction works, thereby enriching your appreciation of the way that Byzantine interaction with the Crusades has been constructed at different times, from various standpoints and in other languages This book remains the keystone to understanding the East-West relationship during the Crusades and what this meant for the Byzantine Empire.

The Sylloge Tacticorum is a mid-Byzantine example of the literary genre of military manuals or Taktika which stretches back to antiquity. It was one of a number produced during the tenth century CE, a period when the Byzantine empire enjoyed a large measure of success in its wars against its traditional enemy, the Arabs. Compiled to record and preserve military strategies, know-how, and tactics, the manual discusses a wide variety of matters: battle formations, raids, sieges, ambushes, surprise attacks, the treatment of prisoners of war and defectors, distribution of booty, punishment of military offences, how to mount effective espionage, and how to send and receive envoys. There is even advice on the personal qualities required by generals, on how to neutralize enemy horses, and on how to protect the troops against poisoned food. The work culminates in an account of the stratagems employed by great Greek and Roman military commanders of the past. While, like so much of Byzantine literature, the Sylloge often simply reproduces material found in earlier texts, it also preserves a great deal of information about the military tactics being developed by the Byzantine army during the tenth century. It is the first Byzantine source to record the reappearance of a specialized heavy cavalry (the kataphraktoi) and of a specialized infantry (the menavlatoi) used to repel the attacks of the opposing heavy cavalry. There is also a great deal of information on new infantry and cavalry formations and on the new tactics that required them. This is the first complete translation of the Sylloge into English. It is accompanied by a glossary of the specialised Greek military vocabulary used in the work and by footnotes which explain obscure references and identify the author's classical and Byzantine sources. An introduction places the work in its historical and literary context and considers some of the questions that

Trusts cross borders. When they do,real difficulties may arise. Will the understanding of what a trust is be different in a foreign state? Will the rights, powers and duties of the trustee and settlor be the same? What rights will the beneficiary be able to assert? To what extent will the trust assets be safe from the claims of creditors, forced heirs, or third parties? Which legal system will be applied to the trust? Within what limits? What if the trust needs to be recognised in a state which does not have the institution of the trust in its domestic law? The Hague Trusts Convention, enacted into English law by the Recognition of Trusts Act 1987, seeks to ameliorate the situation by providing harmonised choice of law rules for "trusts created voluntarily and evidenced in writing." It also provides for the recognition of trusts in Contracting States. Those Contracting States should recognise the trust, even if they do not have the institution in their domestic law. This book is the first published in England to devote itself to a detailed analysis of the Convention. It is aimed at academics and practitioners; at private international lawyers and at trust lawyers. Frequent reference is made to the position in civil law states (especially in the Contracting States of Italy and the Netherlands) and in other trust states, both offshore and onshore. The Hague Trusts Convention deals with the operation of the trust itself. It does not deal with the preliminary steps needed to create a trust. These preliminary matters raise highly complex and uncharted choice of law issues. Detailed discussion of these matters is also provided, and appropriate solutions suggested.

This study demonstrates that the full time party officials of the Communist Party of the Soviet Union (CPSU) used the term "party leadership" to both disguise and signal their efforts to lead the Communists who manned the Soviet state. In 1946, Stalin had made the newly formed Council of Ministers of the USSR, led by its Bureau (Presidium) directly responsible for planning and administering the Soviet economy. As a result, the full time officials clashed constantly and publicly over the relative importance of their direct intervention in production as opposed to ideological education and personnel management in their efforts to provide "party leadership" of the state from 1946 until 1964. Zhdanov and Malenkov clashed over the issue until Zhdanov's death in 1948 and Malenkov clashed with Khrushchev over the same issue from 1949 until Stalin's death in 1953. This conflict became more explicit once Malenkov was named Chairman of the Council of Ministers and Khrushchev first secretary of the CC/CPSU in 1953 and continued until Malenkov's ouster in 1955. Khrushchev clashed with Chairman Bulganin over the same issue from 1955 until 1958. Khrushchev's decision to replace Bulganin as Chairman of the Council of Ministers not only complicated the discussion of party officials' role but led to a series of extremely contradictory reforms. Khrushchev simultaneously bolstered party officials' capacity to intervene directly in industrial production and strengthened the Council of Ministers' control over the same process. The ensuring administrative confusion, when coupled with Khrushchev's overt disdain for the ideological education of Communists helped to undermine his authority and led to the decision of his colleagues to oust him in 1964.

This is an accessible guide to developments in Asian art over the past twenty years of the epoch of globalization. Provides a diverse, multi-authored, heterogeneous, and genuinely plural account of art and its contexts. The democratic and inclusive character of globalization is reflected and produced within this anthology, which includes different styles of writing as well as varieties of analytic and thematic focus.

First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hausers narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

First published in 1951 Arnold Hauser's commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced. This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides a synopsis of Hauser's narrative and serves as a critical guide to the text, identifying major themes, trends and arguments.

This book assesses the key definitions, forms, contexts and impacts of terrorist activity on the arts in the modern era, using historical and contemporary perspectives. Its empirical case studies include theatre, literature, music, visual art, mass media, film and the mores of 'ordinary life.' While its immediate reflective context is Islamic fundamentalist terrorism, the book reviews a broader range of definitions and counter-definitions of 'terrorism', 'state terrorism' and 'states of terror,' examining uses of the terms through a series of comparative analyses. Chapters focus on the intersection of these definitional questions with heuristic analysis of art forms, cultural activities and their socio-historical contexts. This book will be of interest to scholars in art history, terrorism, politics and the media, and visual culture.

'Arnold Hauser's Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hauser's extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

Jonathan Harris demonstrates that the leaders of Stalin's Secretariat clashed sharply over the nature of the Communist party's 'leadership' of the Soviet state in the period between 1939 and 1948. The term 'party leadership' is generally misunderstood; it does not refer to the activities of the party as a whole, but to the efforts of its full time officials (the 'inner party') to direct the activities of the members of the party who manned the Soviet state (the 'outer party'). This study argues that A. Zhdanov and G. Malenkov, the two junior Secretaries of the CC/VKP(B) who directed the two major bureaucratic divisions of the Secretariat for most of the period under review, supported diametrically opposed conceptions of the leadership to be provided by the party's officials. A. Zhdanov argued that they should give priority to the ideological education of all members of the party and should allow the Communists who manned the state considerable autonomy in their administration of the five-year plans. In direct contrast, G. Malenkov, who directed the cadres directorate for most of the period under review, had little sympathy for ideological education and urged party officials to engage in close and detailed direction of the Communists who directly administered the five-year plans. This study contends that it is possible to illustrate this never-ending conflict by a careful examination of the public discussion of this issue in the various publications controlled by the major divisions of the Secretariat. When examined in conjunction with recently published archival materials, it is possible to pinpoint the linkages between the leadership conflict within the Secretariat, the shifts in the ongoing public discussion, and Stalin's role as the final arbiter in the dispute.

Jonathan Harris demonstrates that the leaders of Stalin's Secretariat clashed sharply over the nature of the Communist party's "leadership" of the Soviet state in the period between 1939 and 1948. The term "party leadership" is generally misunderstood; it does not refer to the activities of the party as a whole, but to the efforts of its full time officials (the "inner party") to direct the activities of the members of the party who manned the Soviet state (the "outer party"). This study argues that A. Zhdanov and G. Malenkov, the two junior Secretaries of the CC/VKP(B) who directed the two major bureaucratic divisions of the Secretariat for most of the period under review, supported diametrically opposed conceptions of the leadership to be provided by the party's officials. A. Zhdanov argued that they should give priority to the ideological education of all members of the party and should allow the Communists who manned the state considerable autonomy in their administration of the five-year plans. In direct contrast, G. Malenkov, who directed the cadres directorate for most of the period under review, had little sympathy for ideological education and urged party officials to engage in close and detailed direction of the Communists who directly administered the five-year plans. This study contends that it is possible to illustrate this never-ending conflict by a careful examination of the public discussion of this issue in the various publications controlled by the major divisions of the Secretariat. When examined in conjunction with recently published archival materials, it is possible to pinpoint the linkages between the leadership conflict within the Secretariat, the shifts in the ongoing public discussion, and Stalin's role as the final arbiter in the dispute.

Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers.

Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist.

Key features include:

• 
  
• a user-friendly A-Z format
• 
  
• fully cross-referenced entries
• 
  
• suggestions for further reading.

Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.

Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers.

Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist.

Key features include:

• a user-friendly A-Z format
• fully cross-referenced entries
• suggestions for further reading.

Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.

The study of economics should not be highly abstract, but closely related to real-world events. Principles of Economics in Context addresses this challenge, laying out the principles of micro-and macroeconomics in a manner that is thorough, up to date and relevant to students, keeping theoretical exposition close to experience. Emphasizing writing that is compelling, clear, and attractive to students, it addresses such critical concerns as ecological sustainability, distributional equity, the quality of employment, and the adequacy of living standards. Key features include: Clear explanation of basic concepts and analytical tools, with Discussion Questions at the end of each section, encouraging immediate review of what has been read and relating the material to the students' own experience; Full complement of instructor and student support materials online, including test banks and grading through Canvas; Key terms highlighted in boldface throughout the text, and important ideas and definitions set off from the main text; A glossary at the end of the book containing all key terms, their definitions, and the number of the chapter(s) in which each was first used and defined. Updates for the second edition include: Expanded coverage of topics including inequality, financialization and debt issues, the changing nature of jobs, and sustainable development; New material on wage discrimination by race and gender; an expanded section on labor markets and immigration; Updated discussion of fiscal policy to include more recent developments such as the Trump tax cuts; New material on behavioral economics, public goods, and climate change policy; a new section on "The Economics of Renewable Energy." This new, affordable edition combines the just-released new editions of Microeconomics in Context and Macroeconomics in Context to provide an integrated full-year text covering all aspects of both micro-and macro-analysis and application, with many up-to-date examples and extensive supporting Web resources for instructors and students. The companion website can be found at: http://www.bu.edu/eci/education-materials/textbooks/principles-of-economics-in-context/

This book analyzes the efforts by Mikhail Gorbachev, the General Secretary of the Central Committee of the Communist Party of the Soviet Union (CPSU), to transform the relationship between the bureaucratic core of full-time party officials (the "inner party") and the Communists who manned the Soviet state (the "outer party"). Jonathan Harris argues that the efforts of party officials, headed by the secretariat of the CPSU Central Committee, to direct members of the "outer party" were the essence of so-called party leadership of the entire political system, and that Gorbachev's reforms destroyed the basis of this leadership. Finally, Subverting the System shows how orthodox party officials not only directly challenged Gorbachev's definitions but worked vigorously to restore their own authority during the last years of Gorbachev's reign; opposition contributed significantly to the attempted coup against him in 1991.

"Writing Back to Modern Art" assesses the "critical modernisms" of the three leading art writers of the second half of the twentieth century: Clement Greenberg, Michael Fried, and T.J. Clark. With a focus on the issues of aesthetic evaluation, subjectivity, and meaning in art and art writing, this book examines key discourses in art criticism and art history. In the first full-length study of its kind, Harris identifies points of significant agreement and sharp intellectual disjunction between these critics in their respective accounts of modernism in the visual arts since the 1860s. Developing the notions of "good" and "bad" complexity in modernist criticism, Harris develops an historical and theoretical framework for understanding the development of modern art writing and its relation to the "post-modern" in art and society since the 1970s. Though centered on an examination of canonical modern artists and their place in modernist-critical historiography, with chapters on Manet, Cezanne, Picasso, Pollock, Frank Stella and Cindy Sherman, "Writing Back to Modern Art "suggests ways to think outside of these discourses of value and meaning.

"Writing Back to Modern Art" assesses the "critical modernisms" of the three leading art writers of the second half of the twentieth century: Clement Greenberg, Michael Fried, and T.J. Clark. With a focus on the issues of aesthetic evaluation, subjectivity, and meaning in art and art writing, this book examines key discourses in art criticism and art history. In the first full-length study of its kind, Harris identifies points of significant agreement and sharp intellectual disjunction between these critics in their respective accounts of modernism in the visual arts since the 1860s. Developing the notions of "good" and "bad" complexity in modernist criticism, Harris develops an historical and theoretical framework for understanding the development of modern art writing and its relation to the "post-modern" in art and society since the 1970s. Though centered on an examination of canonical modern artists and their place in modernist-critical historiography, with chapters on Manet, Cezanne, Picasso, Pollock, Frank Stella and Cindy Sherman, "Writing Back to Modern Art "suggests ways to think outside of these discourses of value and meaning.

Contents:
Acknowlegements Dedication Illustrations Introduction 1. Radical Art History: Back to its Future? 2. Capitalist Modernity, the Nation-State and Visual Representation 3. Feminism, Art and Art History 4. Subjects, Identities and Visual Ideology 5. Structures and Meanings in Art and Society 6. Searching, After Certainties 7. Sexualities Represented Conclusion: The Means and Ends of Radical Art History

Bentham's central concern during the 1810s and 1820s was with the codification of the law. Rejecting both the common law and the historical approach to codification, he argued that a code of law should be based on a rigorous logical analysis of the categories of human action, and that each enactment should be followed by the reasons which justified it. Such an `all-comprehensive' code containing an `interwoven rationale' would signal a new era in legislation. Once one state had adopted such a code, other states would be obliged to follow its example, and Bentham would become in effect 'legislator of the world'. Bentham attempted to persuade legislative authorities in the United States of America, Russia, Spain, Portugal, Greece, South and Central America, and elsewhere, to invite him to draft a code of law for them. The works presented in this volume record in fascinating detail Bentham's dealings with such eminent figures as James Madison, John Quincy Adams, Emperor Alexander I, Prince Adam Czartoryski, Alexander Mavrokordatos, Bernadino Rivadavia, and Jose del Valle. The production of a methodology for codification ranks as one of Bentham's outstanding theoretical achievements. Through the materials presented in this volume he emerges as a seminal figure in the development of liberalism throughout Europe and America in the early nineteenth century.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989