Rome, Ostia, Pompeii: Movement and Space demonstrates how studies of the Roman city are shifting focus from static architecture to activities and motion within urban spaces. This volume provides detailed case studies from the three best-known cities from Roman Italy, revealing how movement contributes to our understanding of the ways different elements of society interacted in space, and how the movement of people and materials shaped urban development. The chapters in this book examine the impressions left by the movement of people and vehicles as indentations in the archaeological and historical record, and as impressions upon the Roman urban consciousness. Through a broad range of historical issues, this volume studies movement as it is found at the city gate, in public squares and on the street, and as it is represented in texts. Its broad objective is to make movement meaningful for understanding the economic, cultural, political, religious, and infrastructural behaviours that produced different types and rhythms of interaction in the Roman city. This volume's interdisciplinary approach will inform the understanding of the city in classics, ancient history, archaeology and architectural history, as well as cultural studies, town planning, urban geography, and sociology.

INTRODUCED BY DAVID EDGAR 'I had no taste for what is called popular art, no respect for popular morality, no belief in popular religion, no admiration for popular heroics' With Plays Unpleasant, therefore, Shaw broke all the rules governing how a playwright should entertain his audience. In Widower's Houses, Harry Trench is engaged to brisk Blanche Sartorius. When he realizes that her father is a slum landlord, Harry questions whether he and Blanche have a future together. Charismatic Leonard Charteris is the philanderer who proposes marriage to Grace, while still involved with the beautiful Julia Craven. But Julia is not inclined to surrender him so easily. In Mrs Warren's Profession, Vivie discovers that her mother's immoral earnings have paid for her genteel upbringing. Will she be able to accept her mother for herself?

These plays, as David Edgar says, deal with 'the conflict between youthful ideals and economics realities, the drawbacks of promiscuity and the perils of matrimony, the duties of women to others and themselves, the necessity for and the costs of revolt. What could be more eternal than that?'

The definitive text under the editorial supervision by Dan H. Laurence

Rome, Ostia, Pompeii captures how studies of the Roman city are currently shifting away from architecture towards a dynamic understanding of activities within the urban space. This is becoming a defining feature of new and innovative research on the nature of ancient urbanism and is underpinned by an understanding of the relationship between space and society - the two sides of the core dialectic of the 'Spatial Turn' in cultural studies. In this volume a new generation of scholars provide detailed case studies of the three best known cities from antiquity, Pompeii, Ostia, and Rome, and focus on the movement or flow of a Roman city's inhabitants and visitors, demonstrating how this movement contributes to our understanding of the way different elements of society interacted in space. Through a uniquely broad range of historical issues, such as the commoditization of movement in patronage relationships, the appropriation of 'architectural space' by 'movement space', the importance of movement and traffic in influencing representations of ancient urbanism and the Roman citizen, this volume studies movement as it is found both at the city gate, in the forum, in the portico, and on the street, and as it is represented in the text and on the page.
Throughout this book, the authors are concerned with the residues of movement - the impressions left by the movement of people and vehicles, both as physical indentations in the archaeological record and as impressions upon the Roman urban consciousness. The volume's interdisciplinary approach will inform the understanding of the city in classics, ancient history, archaeology and architectural history, as well as cultural studies, town planning, urban geography, and sociology.

'Heartbreak House was far too lazy and shallow to extricate itself from this palace of evil enchantment. It rhapsodized about love; but it believed in cruelty.' Into the eccentric household of Captain Shotover and his daughter Hesione comes Ellie Dunn, a young woman ready to marry for money rather than love. Hesione protests vigorously, but her rakish husband, Hector, snobbish sister, Ariadne, and the wealthy industrialist Boss Mangan have also joined the house-party and opinion becomes divided on the matter. Should financial concerns take priority over romantic ones, or should we hold on to our ideals, regardless of the consequences?

Written between 1916 and 1917, this play is Shaw's indictment of the generation responsible for the First World War. As David Hare writes, 'Heartbreak House remains not just, alongside Pygmalion, Shaw's most likeable and profound play, but also a work which has extraordinary historic importance ... it is the [twentieth] century's original state-of-England play.'

The definitive text, under the editorial supervision of Dan H. Laurence