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A feminist perspective of the myth of Penelope in Annie Leclerc's Toi, Pénélope, Margaret Atwood's The Penelopiad and Silvana La Spina's Penelope
This volume of eighteen articles offers: Andrew R. Dyck, "The Fragments of Heliodorus Homericus"; Hayden Pelliccia, "Aeschylus, Eumenides 64-88 and the Ex Cathedra Language of Apollo"; G. Zuntz, "Aeschyli Prometheus"; Georgia Ann Machemer, "Medicine, Music, and Magic: The Healing Grace of Pindar's Fourth Nemean"; Carlo O. Pavese, "On Pindar fr. 169"; Deborah Steiner, "Pindar's 'Oggetti Parlanti'"; Heinz-G nther Nesselrath, "Parody and Later Greek Comedy"; Noel Robertson, "Athens' Festival of the New Wine"; Richard F. Thomas, "Two Problems in Theocritus (Id. 5.49, 22.66)"; Nita Krevans, "Ilia's Dream: Ennius, Virgil, and the Mythology of Seduction"; Benjamin Victor, "Remarks on the Andria of Terence"; Cynthia Damon, "Comm. Pet. 10"; Harold Gotoff, "Oratory: The Art of Illusion"; Henri J. W. Wijsman, "Ascanius, Gargara and Female Power in Georgics 3.269-270"*; Robert V. Albis, "Aeneid 2.57-59: The Ennian Background"; Mario Geymonat, "Callimachus at the End of Aeneas' Narration"; Alessandro Barchiesi, "Future Reflexive: Two Modes of Allusion and Ovid's Heroides"; and Monika Asztalos, "Boethius as a Transmitter of Greek Logic to the Latin West: The Categories." * By misunderstanding this article was published in an uncorrected form in HSCP, vol. 94 (1992). Any reference should be made to the article as published here.
Every night, a pageant of Greek mythology circles overhead. Perseus flies to the rescue of Andromeda, Orion faces the charge of the snorting Bull, and the ship of the Argonauts sails in search of the Golden Fleece. Constellations are the invention of the human imagination, not of nature. They are an expression of the human desire to impress its own order upon the apparent chaos of the night sky. Modern science tells us that these twinkling points of light are glowing balls of gas, but the ancient Greeks, to whom we owe many of our constellations, knew nothing of this. Ian Ridpath, well-known astronomy writer and broadcaster, has been intrigued by the myths of the stars for many years. Star Tales is the first modern guide to combine all the fascinating myths in one book, illustrated with the beautiful and evocative engravings from two of the leading star atlases: Johann Bode's Uranographia of 1801 and John Flamsteed's Atlas Ceolestis of 1729. This is an excellent reference and the perfect gift for the armchair astronomer and those interested in classical mythology alike.
The area known as Dogtown -- an isolated colonial ruin and surrounding 3,000-acre woodland in storied seaside Gloucester, Massachusetts -- has long exerted a powerful influence over artists, writers, eccentrics, and nature lovers. But its history is also woven through with tales of witches, supernatural sightings, pirates, former slaves, drifters, and the many dogs Revolutionary War widows kept for protection and for which the area was named. In 1984, a brutal murder took place there: a mentally disturbed local outcast crushed the skull of a beloved schoolteacher as she walked in the woods. Dogtown's peculiar atmosphere -- it is strewn with giant boulders and has been compared to Stonehenge -- and eerie past deepened the pall of this horrific event that continues to haunt Gloucester even today. In alternating chapters, Elyssa East interlaces the story of this grisly murder with the strange, dark history of this wilderness ghost town and explores the possibility that certain landscapes wield their own unique power. East knew nothing of Dogtown's bizarre past when she first became interested in the area. As an art student in the early 1990s, she fell in love with the celebrated Modernist painter Marsden Hartley's stark and arresting Dogtown landscapes. She also learned that in the 1930s, Dogtown saved Hartley from a paralyzing depression. Years later, struggling in her own life, East set out to find the mysterious setting that had changed Hartley's life, hoping that she too would find solace and renewal in Dogtown's odd beauty. Instead, she discovered a landscape steeped in intrigue and a community deeply ambivalent about the place: while many residents declare their passion for this profoundly affecting landscape, others avoid it out of a sense of foreboding. Throughout this richly braided first-person narrative, East brings Dogtown's enigmatic past to life. Losses sustained during the American Revolution dealt this once thriving community its final blow. Destitute war widows and former slaves took up shelter in its decaying homes until 1839, when the last inhabitant was taken to the poorhouse. He died seven days later. Dogtown has remained abandoned ever since, but continues to occupy many people's imaginations. In addition to Marsden Hartley, it inspired a Bible-thumping millionaire who carved the region's rocks with words to live by; the innovative and influential postmodernist poet Charles Olson, who based much of his epic Maximus Poems on Dogtown; an idiosyncratic octogenarian who vigilantly patrols the land to this day; and a murderer who claimed that the spirit of the woods called out to him. In luminous, insightful prose, Dogtown takes the reader into an unforgettable place brimming with tragedy, eccentricity, and fascinating lore, and examines the idea that some places can inspire both good and evil, poetry and murder.
A new, provocative treatment of the Alexandrian poet Callimachus and his reception, approaching his work from four varied yet complementary angles.