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A new translation of Gottfried Keller's 1861 At the MythStone (Am Mythenstein) followed by an Afterword by the translator, a timeline of his life and works and an index of his works. This is a philosophical essay related to the "Mythenstein", also called the Schillerstein, which is a natural rock made into a monument to Schiller, located in seelisberg, Switzerland, and standing around 80 feet tall. It is only accessible by boat. The monument had a large inauguration ceremony in 1859, called the Schiller Festival, which Keller attended. It celebrated his greatest story, Wilhelm Tell, which Keller refers to as merely "Tell". Schiller's daughter read his poetry at the proceedings, and Keller describes the event in detail. "Schiller never saw Switzerland in the flesh; but all the more certainly his spirit will walk over the sunny slopes and ride with the storm through the rocky gorges, even after the Mythenstein will finally have long weathered and crumbled."
Provides articles covering children's literature from around the world as well as biographical and critical reviews of authors including Avi, C.S. Lewis, J.K. Rowling, and Anno Mitsumasa.
Hamilton opened on Broadway in 2015 and quickly became one of the hottest tickets the industry has ever seen. Lin-Manuel Miranda - who wrote the book, lyrics, and music, and created the title role - adapted the show from Ron Chernow's biography Alexander Hamilton. Although it seems an unlikely source for a Broadway musical, Miranda found a liminal space where the life that Hamilton led and the issues that he confronted came alive more than two centuries later while also commenting on contemporary life in the United States and how we view our nation's history. With a score largely based on rap and drawing on other aspects of hip-hop culture, and staged with actors of color playing the white Founding Fathers, Hamilton has much to say about race in the United States today and in our past, but at the same time it leaves important things insufficiently explained, such as the role of women and people of color in Hamilton's time. Dueling Grounds: Revolution and Revelation in the Musical Hamilton is a volume that combines the work of theater scholars and practitioners, musicologists, and scholars in such fields as ethnomusicology, history, gender studies, and economics in a multi-faceted approach to the show's varied uses of liminality, looking at its creation, casting philosophy, dance and movement, costuming, staging, direction, lyrics, music, marketing, and how aspects of race, gender, and class fit into the show and its production. Demonstrating that there is much to celebrate, as well as challenging issues to confront concerning Hamilton, Dueling Grounds is an uncompromising look at one of the most important musicals of the century.
This is the first major book to explore uniquely Haudenosaunee (Iroquois), and specifically Oneida, components in the Native American oral narrative as it existed around 1900. Drawn largely from early twentieth-century journals by non-Indigenous scholar Hope Emily Allen, much of which was published in Oneida Iroquois Folklore, Myth, and History for the first time. Even as he studies time-honored themes and such stories as the Haudenosaunee account of creation, Anthony Wonderley breaks new ground examining links between legend, history, and everyday life. He pointedly questions how oral traditions are born and develop. Uncovering tales told over the course of 400 years, Wonderley further defines and considers endurance and sequence in oral narratives.. Finally, possible links between Oneida folklore and material culture are explored in discussions of craft works and archaeological artifacts of cultural and symbolic importance. Arguably the most complete study of its kind, the book will appeal to a wide range of professional disciplines from anthropology, history, and folklore to religion and Native American studies.
Drawing upon historical, archaeological, and mythical examples from around the world, this book reveals how societal views of female empowerment and authority can be directly traced to the reverence once directed towards female warriors, priestesses, healers, queens, pharaohs, and goddesses. Communities which revered women as sacred idols of their belief systems were far more likely to place women in prominent positions of social or political influence, since their members were quite used to envisioning power in the hands of a strong or divine woman. The book also explores how goddesses were purposefully devalued during the rise of patriarchal civilizations, thus restricting the social importance of earthly women and their accompanying rights. One such instance can be found in Greek mythology's Gaia: once revered as a dominant earth mother, she was replaced by a division of less-powerful figures with more socially acceptable feminine roles, such as Aphrodite, the goddess of love (typically held up as an object of male lust); Hera, the goddess of marriage and childbirth (often portrayed as obsessed with jealousy over the extramarital exploits of her husband); and the mostly silent goddess of the hearth, Hestia. The devaluing of once revered goddesses appeared in quite distinct ways across different cultures; thus, this book breaks down its chapters by global region, including Europe, the Middle East, the Mediterranean, India, Asia, Africa, the Americas, and Oceania.
In Chinese Mythology, Anne Birrell provides English translations of some 300 representative myth narratives selected from over 100 classical texts, many of which have never before been translated into any Western language. Organizing the narratives according to themes and motifs common to world mythology, Birrell addresses issues of source, dating, attribution, textural variants, multiforms, and context. Drawing on exhaustive work in comparative mythology, she surveys the development of Chinese myth studies, summarizes the contribution of Chinese and Japanese scholars to the study of Chinese myth since the 1920s, and examines special aspects of traditional approaches to Chinese myth. The result is an unprecedented guide to the study of Chinese myth for specialists and nonspecialists alike.
In four extended case studies, the book traces the way in which central concepts of the aesthetics later termed "Frankfurt School" were deeply rooted in contemporary developments in painting, photography, architecture and films as well as psychology, advertising and the discipline of art history as it was practised by figures such as Heinrich Wolfflin, Erwin Panofsky, Wilhelm Pinder and Hans Sedlmayr. By studying the emergence and importance of the concepts of 'fashion', 'distraction', 'non-simultaneity' and 'mimesis' in the work of the critical theorists, the book traces the shifting intersection between the history of art and the Frankfurt School and seeks to uncover its specific logic.