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George O’Connor’s vibrant, kinetic art brings ancient tales to life in the New York Times Bestselling series The Olympians. This fusion of super-hero aesthetics and ancient Greek mythology is perfect for fans of Percy Jackson! Thrown from Mount Olympus as a newborn and caught by Thetis and Eurynome, who raised him on the island of Lemnos, Hephaistos had an aptitude for creating beautiful objects from a very young age. Despite his rejection from Olympus, he swallowed his anger and spent his days perfecting his craft. His exquisitely forged gifts and weapons earned him back his seat in the heavens, but he was not treated as an equal—his brothers and sisters looked down at him for his lame leg, and even his own wife, Aphrodite, was disloyal. Witness Hephaistos’ wrath in God of Fire as he creates a plan that’ll win him the respect he deserves.
A welcome examination of some curious creatures and a more curious god
Matheson provides the first comprehensive chronology for Polygnotos's own works, and then analyzes the distinctive, evolving Polygnotan style first isolated by Sir John Beazley, comparing this style to that of contemporary Athenian workshops and demonstrating its seminal influence on the later vase painting of southern Italy.
This volume is the sequel to Karl Schefold's Myth and Legend in Early Greek Art, and the second in his ambitious project to trace the representation of the Greek myths in Greek art from the beginnings down to the Hellenistic period.
Arguing that American culture appeals to and is populated by children and adolescents who merely appear to be adult men and women, the essays in Perpetual Adolescence examine the Jungian archetype of the "eternal youth"—the puer aeternus—as it is manifested in the arrested development of American culture. From the infantilization of the American psyche and the lionization of teenaged celebrities and bodies, to fanatical conformity, and puerile entertainment, the contributors probe the various ways that American television, music, film, print, Internet, education, and social movements work to nourish and sustain this child archetype. Offering analytic psychology as an instrument of social analysis and critique, they point to the need for dialogue over the causes and effects of our puer-fixations, which have become, in large part, both a creation and a creator of the American zeitgeist.
This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.
This book is a comprehensive study of visual humour in ancient Greece, with special emphasis on works created in Athens and Boeotia. Alexandre G. Mitchell brings an interdisciplinary approach to this topic, combining theories and methods of art history, archaeology and classics with the anthropology of humour, and thereby establishing new ways of looking at art and visual humour in particular. Understanding what visual humour was to the ancients and how it functioned as a tool of social cohesion is only one facet of this study. Mitchell also focuses on the social truths that his study of humour unveils: democracy and freedom of expression; politics and religion; Greek vases and trends in fashion; market-driven production; proper and improper behaviour; popular versus elite culture; carnival in situ; and the place of women, foreigners, workers and labourers within the Greek city. Richly illustrated with more than 140 drawings and photographs, this study amply documents the comic representations that formed an important part of ancient Greek visual language from the sixth to the fourth centuries BC.
Based on the author's thesis, University of Oxford.