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Griffins, centaurs and gorgons: the Greek imagination teems with wondrous, yet often monstrous, hybrids. Jeremy McInerney discusses how these composite creatures arise from the entanglement of humans and animals. Overlaying such enmeshment is the rich cultural exchange experienced by Greeks across the Mediterranean. Hybrids, the author reveals, capture the anxiety of cross-cultural encounter, where similarity and incongruity were conjoined. Hybridity likewise expresses instability of identity. The ancient sea, that most changeable ancient domain, was viewed as home to monsters like Skylla; while on land the centaur might be hypersexual yet also hypercivilized, like Cheiron. Medusa may be destructive, yet also alluring. Wherever conventional values or behaviours are challenged, there the hybrid gives that threat a face. This absorbing work unveils a mercurial world of shifting categories that offer an alternative to conventional certainties. Transforming disorder into images of wonder, Greek hybrids – McInerney suggests – finally suggest other ways of being human.
Forced to move to an old farmhouse in the country after their father's accident, Jake and Jessica Caden are certain that adventure is the last thing they will find until they stumble upon an entrance into Evurmor: a land of magical Doors, paintings, and enchanted creatures. In the midst of their journey, they soon discover an evil Painter wants them dead, because only those not born in Evurmor can see the hideous Darsai that have been summoned to spread chaos throughout the enchanted kingdoms. Protected by a secret band of Knights and guided by a powerful unicorn, Jake and Jessica learn about faith and courage as they strive to save the kingdoms of Evurmor from creatures no one believes exists. But can the kingdoms unite after so many years of distrust? Do they have the strength to defeat the Darsai? "The Secret in the Attic is an enchanting tale of adventure and wonder." -- Leigh DeLozier C. L. Reynolds grew up in Maryland, just outside of Washington, DC, and has been writing poetry, songs, stories, and creating works of art since she was a child. At 19 she traveled with a gospel band for five years, singing at churches and auditoriums; and two of her original songs were published on an album of The Journeymen. Her beloved hobby of writing stories and creating worlds soon blossomed into ten books, and it was time to start publishing! In her debut novel: The Secret in the Attic, she brings to life her love of fantasy in the land of Evurmor, where creatures of ancient lore live and play, and evil lurks in secret. C. L. Reynolds resides in Georgia, with her husband and two daughters.
Craig S. Keener presents fascinating, wonderfully useful information on the historical and cultural backgrounds of nearly every verse in the New Testament.
Author Don Nardo and Consultant Editor Barbette Spaeth have compiled this volume that provides entries about various aspects of Greek and Roman mythology, grouped in the categories of rulers, heroes, and other human characters. Readers will learn about major and minor gods, animals, monsters, spirits, and forces. Entries cover important places and things, and major myth tellers and their works. Includes retellings of twelve myths.
This volume presents compelling entries that provide definitions of important terms, biographies of central figures, and brief narratives of pivotal events that transformed ancient Greece. Students will find quick and easily accessible answers to the difficult questions that arise while researching events, personalities, and issues of Greece's past. A comprehensive bibliography offers further avenues for research.
A central, much-studied feature of the poetry of 3rd cent. BCE Alexandria is the artistic treatment of the cultural past, the reception of earlier Greek poetry and artwork in the artistic creations of a new, Greco-Egyptian world deracinated both geographically and temporally from the heroes and models of Archaic and Classical Greece. Benjamin Acosta-Hughes has devoted a 30+ year professional scholarly career to the study of this reception, one of both imitation and variation, which took place concurrently with the massive collection and categorization of earlier Greek literature in the work of the scholars gathered under royal patronage at the Ptolemaic court in Alexandria, a truly revolutionary new effort of cultural memorialization. The poets of this period, among them Callimachus, Theocritus, Apollonius and Posidippus, vied in their efforts to compose works that at once celebrated their poetic heritage and at the same time marked their own poetry as original artistic creation and as critical commentary upon their earlier models. This collection will be of interest not only for readers of Archaic and Hellenistic poetry, but also for readers interested in the later reception of the Alexandrians at Rome.
One of the greatest works of world literature, Dante Alighieri’s The Divine Comedy has, despite its enormous popularity and importance, often stymied readers with its multitudinous characters, references, and themes. But until now, students of the Inferno have lacked a suitable resource to guide their reading. Welcome to Danteworlds, the first substantial guide to the Inferno in English. Guy P. Raffa takes readers on a geographic journey through Dante’s underworld circle by circle—from the Dark Wood down to the ninth circle of Hell—in much the same way Dante and Virgil proceed in their infernal descent. Each chapter—or “region”—of the book begins with a summary of the action, followed by detailed entries, significant verses, and useful study questions. The entries, based on a close examination of the poet’s biblical, classical, and medieval sources, help locate the characters and creatures Dante encounters and assist in decoding the poem’s vast array of references to religion, philosophy, history, politics, and other works of literature. Written by an established Dante scholar and tested in the fire of extensive classroom experience, Danteworlds will be heralded by readers at all levels of expertise, from students and general readers to teachers and scholars.
In dreary, doubtful waiting hours Before the brazen frenzy starts, The horses show him nobler powers;- O patient eyes, courageous hearts.' Into Battle, Julian Grenfell, 1915 In the days of horsed cavalry, a soldier's mount was a living, breathing companion. It galloped into the jaws of death at the sound of the bugle and the nudge of spurs. It carried its rider over arid deserts, across swollen rivers, up near-sheer mountains. Whole societies functioned because of the warhorse - the Huns, the Mongols, and the tribes of the North American plains. Horses were worshipped as gods - the centaurs of ancient Greece, Tziminchak of the Aztecs, while the Roman emperor Caligula intended to make his horse a consul! Most of us have only ever seen warhorses at the movies - the Scots Greys at Waterloo, the Light Brigade at Balaclava, Taras Bulba's Cossacks on the Steppes and Custer's cavalry at the Little Big Horn. This book celebrates the color and nostalgia of a fighting past, from eohippus the first horse to Sefton, the last warhorse injured in the line of duty. Not forgetting the stark reality of thousands of animals sacrificed for men's greed and ambition, those killed on campaign, the maimed cab-horses and fodder for the knacker's yard.
WITH FRIENDS LIKE THESE . . . With the Earth in the path of the rapacious Posleen, the peaceful and friendly races of the Galactic Federation offer their resources to help the backward Terrans¾for a price. Humanity now has three worlds to defend. As Earth's armies rush into battle and special operations units scout alien worlds, the humans begin to learn a valuable lesson: You can protect yourself from your enemies, but may the Lord save you from your allies. At the publisher's request, this title is sold without DRM (Digital Rights Management).
The emotions have long been an interest for those studying ancient Greece and Rome. But while the last few decades have produced excellent studies of individual emotions and the different approaches to them by the major philosophical schools, the focus has been almost entirely on negative emotions. This might give the impression that the Greeks and Romans had little to say about positive emotion, something that would be misguided. As the chapters in this collection indicate, there are representations of positive emotions extending from archaic Greek poetry to Augustine, and in both philosophical works and literary genres as wide-ranging as lyric poetry, forensic oratory, comedy, didactic poetry, and the novel. Nor is the evidence uniform: while many of the literary representations give expression to positive emotion but also describe its loss, the philosophers offer a more optimistic assessment of the possibilities of attaining joy or contentment in this life. The positive emotions show some of the same features that all emotions do. But unlike the negative emotions, which we are able to describe and analyze in great detail because of our preoccupation with them, positive emotions tend to be harder to articulate. Hence the interest of the present study, which considers how positive emotions are described, their relationship to other emotions, the ways in which they are provoked or upset by circumstances, how they complicate and enrich our relationships with other people, and which kinds of positive emotion we should seek to integrate. The ancient works have a great deal to say about all of these topics, and for that reason deserve more study, both for our understanding of antiquity and for our understanding of the positive emotions in general.