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"Lamia" is a narrative poem, that tells how the god Hermes hears of a nymph who is more beautiful than all. Hermes, searching for the nymph, instead comes across a Lamia, trapped in the form of a serpent. She reveals the previously invisible nymph to him and in return he restores her human form. She goes to seek a youth of Corinth, Lycius, while Hermes and his nymph depart together into the woods. The relationship between Lycius and Lamia, however, is destroyed when the sage Apollonius reveals Lamia's true identity at their wedding feast, whereupon she seemingly disappears and Lycius dies of grief. Also, Keats's poem had a deep influence on Edgar Allan Poe's sonnet "To Science."
Policeman-artist John Valjohn looks for the female murderer of a number of men whose deaths have been caused by strange and inexplicable sexual mutilation
The first feminist critique of the much-lauded microcredit process in Bangladesh.
Evil is preying. With the highest possible stakes, amidst a horrific and suspenseful race against time, a reluctant psychiatrist fights a demon, a global pandemic risk, and his own troubled past in a fight for his daughter's soul. On a remote boulder on a beach in Costa Rica, an unorthodox family vacation turns into a fight to stop a global pandemic. Emerging from the jungle treetops during a thunderstorm, a vampire bat attacks teenager Taylor. When her mother drowns in the turbulent ocean during the storm, Taylor blames her father, Richard Morgan, when his medical training can't save his ex-wife. The leader of a Costa Rican task force, a transplant from the nearby indigenous Bribri tribe in the Talamancan mountains, is determined to stop the spread of a deadly global pandemic originating from a Bribri demon. She tries to kill Taylor on the spot, but Morgan overcomes the task force and the family escapes home to Salem, Oregon. But Taylor starts to change, and Morgan is conflicted between the science he relies on as a psychiatrist (and his atheist girlfriend) and the religion he abandoned. Linda, who lost her daughter to the pandemic, arrives to convince Morgan the unexplainable is real, and he eventually has no choice but to accept his daughter is possessed by an evil that is transforming her into a vampire. Morgan and Linda take Taylor to the Bribri village in a desperate attempt to get help from the Bribri shaman to perform an exorcism to rid Taylor of the demon. If this last-ditch attempt fails, he knows he'll have to destroy his own daughter to save her soul, and the world. The Lamia is the ultimate battle between good and evil, offered from a master storyteller.
Keats’s first volume of poems, published in 1817, demonstrated both his belief in the consummate power of poetry and his liberal views. While he was criticized by many for his politics, his immediate circle of friends and family immediately recognized his genius. In his short life he proved to be one of the greatest and most original thinkers of the second generation of Romantic poets, with such poems as ‘Ode to a Nightingale’, ‘On First Looking into Chapman’s Homer’ and ‘La Belle Dame sans Merci’. While his writing is illuminated by his exaltation of the imagination and abounds with sensuous descriptions of nature’s beauty, it also explores profound philosophical questions. John Barnard’s acclaimed volume contains all the poems known to have been written by Keats, arranged by date of composition. The texts are lightly modernized and are complemented by extensive notes, a comprehensive introduction, an index of classical names, selected extracts from Keats’s letters and a number of pieces not widely available, including his annotations to Milton’s Paradise Lost.
This book presents the first English translation of an important Renaissance Latin text: Angelo Poliziano s Lamia, an opening oration to a 1492 course at the University of Florence that amounts to a rethinking of the mission and nature of philosophy. An edition of the Latin text is also offered, as are four contextualizing studies.
From the creator of the popular blog The Monsters Know What They’re Doing comes a compilation of villainous battle plans for Dungeon Masters. In the course of a Dungeons & Dragons game, a Dungeon Master has to make one decision after another in response to player behavior—and the better the players, the more unpredictable their behavior! It’s easy for even an experienced DM to get bogged down in on-the-spot decision-making or to let combat devolve into a boring slugfest, with enemies running directly at the player characters and biting, bashing, and slashing away. In The Monsters Know What They’re Doing, Keith Ammann lightens the DM’s burden by helping you understand your monsters’ abilities and develop battle plans before your fifth edition D&D game session begins. Just as soldiers don’t whip out their field manuals for the first time when they’re already under fire, a DM shouldn’t wait until the PCs have just encountered a dozen bullywugs to figure out how they advance, fight, and retreat. Easy to read and apply, The Monsters Know What They're Doing is essential reading for every DM.
In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.