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The lively ancient epitaphs in this bilingual collection fit together like small mosaic tiles, forming a vivid portrait of Greek society. Cut These Words into My Stone offers evidence that ancient Greek life was not only celebrated in great heroic epics, but was also commemorated in hundreds of artfully composed verse epitaphs. They have been preserved in anthologies and gleaned from weathered headstones. Three-year-old Archianax, playing near a well, Was drawn down by his own silent reflection. His mother, afraid he had no breath left, Hauled him back up wringing wet. He had a little. He didn't taint the nymphs' deep home. He dozed off in her lap. He's sleeping still. These words, translated from the original Greek by poet and filmmaker Michael Wolfe, mark the passing of a child who died roughly 2,000 years ago. Ancient Greek epitaphs honor the lives, and often describe the deaths, of a rich cross section of Greek society, including people of all ages and classes— paupers, fishermen, tyrants, virgins, drunks, foot soldiers, generals—and some non-people—horses, dolphins, and insects. With brief commentary and notes, this bilingual collection of 127 short, witty, and often tender epigrams spans 1,000 years of the written word. Cut These Words into My Stone provides an engaging introduction to this corner of classical literature that continues to speak eloquently in our time.
Marion and Shiva Stone are twin brothers born of a secret union between a beautiful Indian nun and a brash British surgeon. Orphaned by their mother’s death and their father’s disappearance and bound together by a preternatural connection and a shared fascination with medicine, the twins come of age as Ethiopia hovers on the brink of revolution. Moving from Addis Ababa to New York City and back again, Cutting for Stone is an unforgettable story of love and betrayal, medicine and ordinary miracles—and two brothers whose fates are forever intertwined.
Paul Celan's works dwell on the threshold between the extremes of poetic expression and philosophical reflection. The divergent literary and critical idioms that have marked Celan's writing—and that Celan's writing has come to mark for others (Hamacher, Derrida, Szondi)—thus call for a new philology. This philology cannot be situated within presupposed genres or fields but rather explores the ways in which poetic and philosophical ambitions meet in texts by, and on, Celan. The first part of Thresholds, Encounters ("Ex-posing the Poem") speaks to issues of history, ecology, and aurality; the second part ("Language Dislodged") delves into Celan's articulations of encounter, positionality, and translation. Throughout, contributors probe the consequences of Celan's poetry for thinking and writing, while inviting readers from different disciplinary spaces to further pace out the liminal zones opened by his oeuvre.
In Burning the Midnight Oil, word-wrangler extraordinaire Phil Cousineau has gathered an eclectic and electric collection of soulful poems and prose from great thinkers throughout the ages. Whether beguiling readers with glorious poetry or consoling them with prayers from fellow restless souls, Cousineau can relieve any insomniac's unease. From St. John of the Cross to Annie Dillard, Beethoven to The Song of Songs, this refreshingly insightful anthology soothes and inspires all who struggle through the dark of the night. These "night thoughts" vividly illustrate Alfred North Whitehead's liberating description of "what we do without solitude" and also evoke Henry David Thoreau's reverie, "Our truest life is when we are in dreams awake." The night writers in Cousineau's vesperal collection range from saints, poets, and shamans to astronomers and naturalists, and tells of ancient tales and shining passages from the most brilliant (albeit insomniac) writers of today. These poetic ponderances sing of the falling darkness, revel in dream-time, convey the ache of melancholy, conspire against sleeplessness, vanquish loneliness, contemplate the night sky, rhapsodize on love, and languorously greet the first rays of dawn. Notable night owls include Rabandranath Tagore, Mary Oliver, Manley Hopkins, Jorge Borges and William Blake.
In Saxa judaica loquuntur (‘Jewish stones speak out’), Pieter W. van der Horst informs the reader about the recent boom in the study of ancient Jewish epigraphy and he demonstrates what kinds of new information this development yields. After sketching the status quaestionis, this book exemplifies the relevance of early Jewish inscriptions by means of a study of Judaism in Asia Minor on the basis of epigraphic material. It also highlights several areas of research for which this material provides us with insights that the Jewish literary sources do not grant us. Furthermore, the book contains a selection of some 50 inscriptions, in both their original languages and English translation with explanatory notes.
Religion was integral to the conduct of war in the ancient world and the Greeks were certainly no exception. No campaign was undertaken, no battle risked, without first making sacrifice to propitiate the appropriate gods (such as Ares, god of War) or consulting oracles and omens to divine their plans. Yet the link between war and religion is an area that has been regularly overlooked by modern scholars examining the conflicts of these times. This volume addresses that omission by drawing together the work of experts from across the globe. The chapters have been carefully structured by the editors so that this wide array of scholarship combines to give a coherent, comprehensive study of the role of religion in the wars of the Archaic and Classical Greek world. Aspects considered in depth will include: Greek writers on religion and war; declarations of war; fate and predestination, the sphagia and pre-battle sacrifices; omens, oracles and portents, trophies and dedications to cult centers; militarized deities; sacred truces and festivals; oaths and vows; religion & Greek military medicine.