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Providing fast-action science fiction novels, Startling Stories was established beginning in January 1939 as a sister publication to Thrilling Wonder Stories. Publishing 99 issues in all, and combining Fantastic Story Magazine and Thrilling Wonder Stories with its ninety-seventh issue, it finally suspended publication in Fall 1955, one of the last of the pulps to fold. Leon L. Gammell, an avid reader and collector of that period, views that era's stories with both nostalgia and objectivity; his incisive critiques will provide interested readers with numerous guideposts to a wealth of exciting fantasy and SF reading.
While numerous classical dictionaries identify the figures and tales of Greek and Roman mythology, this reference book explains the allegorical significance attached to the myths by Medieval and Renaissance authors. Included are several hundred alphabetically arranged entries for the gods, goddesses, heroes, heroines, and places of classical myth a
Sinister Stories was a short-lived (only 3 issues) "weird menace" magazine, designed to thrill and titilate through a mix of suspense, science fiction, bondage, nudity, and grisly horror. Stories such as "Brides of the Half-Men," "Satan's Studio of Sin," and "White Flesh Must Rot" are surely masterpieces of over-the-top pulp writing! This is the very first issue, reproduced in facsimile, with a fine lineup of macabrely wicked stories-complete with all the gloriously naughty original illustrations!
"The Thrill Book" is a legendary magazine, one of the holy grails of pulp collecting. Original copies sell for thousands of dollars -- if you can find them. Running for sixteen issues in 1919, it was a magazine of "strange, bizzare, occult, mysterious tales," but not quite a fantastic-fiction magazine, mixing various types of adventure stories with often outstanding fantasy, horror, and science fiction by Murray Leinster, Seabury Quinn, Francis Stevens, Perley Moore Sheehan, Tod Robbins, Edward Lucas White, Greye La Spina, and other giants of the pulp era. While sheer scarcity may have once added something to the lustre of "The Thrill Book," now that an issue is finally made available at an affordable price, the reader may appreciate that this truly was a pioneering -- and supremely entertaining -- publication.
Mark Padilla’s classical reception readings of Alfred Hitchcock features some of the director’s most loved and important films, and demonstrates how they are informed by the educational and cultural classicism of the director’s formative years. The six close readings begin with discussions of the production histories, so as to theorize and clarify how classicism could and did enter the projects. Exploration of the films through a classical lens creates the opportunity to explore new themes and ideological investments. The result is a further appreciation of both the engine of the director’s storytelling creativity and the expressionism of classicism, especially Greek myth and art, in British and American modernism. The analysis organizes the material into two triptychs, one focused on the three films sharing a wrong man pattern (wrongly accused man goes on the run to clear himself), the other treating the films starring the actress Grace Kelly. Chapter One, on The 39 Steps (1935), finds the origins of the wrong man plot in early 20th-century British classicism, and demonstrates that the movie utilizes motifs of Homer’s Odyssey. Chapter Two, on Saboteur (1942), theorizes the impact of the director’s memories of the formalism and myths associated with the Parthenon sculptures housed in the British Museum. Chapter Three, on North by Northwest, participates in the myths of the hero Oedipus, as associated with early Greek epic, Freud, Nietzsche, and Sophocles. Chapter Four, on Dial M for Murder (1954), returns to Homer’s Odyssey in the interpretive use of “the lay of Demodocus,” a story about the sexual triangle of Hephaestus, Aphrodite, and Ares. Chapter Five, on Rear Window (1954), finds its narrative archetype in The Homeric Hymn to Aphrodite; the erotic theme of Sirius, the Dog Star, also marks the film. Chapter Six, on To Catch a Thief (1955), offers the opportunity to break from mythic analogues, and to consider the film’s philosophical resonances (Plato and Epicurus) in the context of motifs coalesced around the god Dionysus/Bacchus.
2015 Reprint of 1934 Edition. Full facsimile of the original edition. Not reproduced with Optical Recognition Software. Crockett was a prominent journalist, writer and publicist. He contributed many observations on New York City nightlife during Prohibition, especially regarding the social life of the Waldorf-Astoria. This collection provides 500 cocktail recipes served at the Waldorf and is one of the first post-Prohibition books of its kind. The author also provides glimpses of the history of the renowned bar, where he served as the historian of the Old Waldorf Astoria.
Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.
In this study of Shakespeare's visual culture Frederick Kiefer looks at the personified characters created by Shakespeare in his plays, his walking, talking abstractions. These include Rumour in 2 Henry IV, Time in The Winter's Tale, Spring and Winter in Love's Labour's Lost, Revenge in Titus Andronicus, and the deities in the late plays. All these personae take physical form on the stage: the actors performing the roles wear distinctive attire and carry appropriate props. The book seeks to reconstruct the appearance of Shakespeare's personified characters; to explain the symbolism of their costumes and props; and to assess the significance of these symbolic characters for the plays in which they appear. To accomplish this reconstruction, Kiefer brings together a wealth of visual and literary evidence including engravings, woodcuts, paintings, drawings, tapestries, emblems, civic pageants, masques, poetry and plays. The book contains over forty illustrations of personified characters in Shakespeare's time.