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In The Lay Saint, Mary Harvey Doyno investigates the phenomenon of saintly cults that formed around pious merchants, artisans, midwives, domestic servants, and others in the medieval communes of northern and central Italy. Drawing on a wide array of sources—vitae documenting their saintly lives and legends, miracle books, religious art, and communal records—Doyno uses the rise of and tensions surrounding these civic cults to explore medieval notions of lay religiosity, charismatic power, civic identity, and the church's authority in this period. Although claims about laymen's and laywomen's miraculous abilities challenged the church's expanding political and spiritual dominion, both papal and civic authorities, Doyno finds, vigorously promoted their cults. She shows that this support was neither a simple reflection of the extraordinary lay religious zeal that marked late medieval urban life nor of the Church's recognition of that enthusiasm. Rather, the history of lay saints' cults powerfully illustrates the extent to which lay Christians embraced the vita apostolic—the ideal way of life as modeled by the Apostles—and of the church's efforts to restrain and manage such claims.
Two distinctly different meanings of piracy are ingeniously intertwined in Monica Cohen's lively new book, which shows how popular depictions of the pirate held sway on the page and the stage even as their creators were preoccupied with the ravages of literary appropriation. The golden age of piracy captured the nineteenth-century imagination, animating such best-selling novels as Treasure Island and inspiring theatrical hits from The Pirates of Penzance to Peter Pan. But the prevalence of unauthorized reprinting and dramatic adaptation meant that authors lost immense profits from the most lucrative markets. Infuriated, novelists and playwrights denounced such literary piracy in essays, speeches, and testimonies. Their fiction, however, tells a different story. Using landmarks in copyright history as a backdrop, Pirating Fictions argues that popular nineteenth-century pirate fiction mischievously resists the creation of intellectual property in copyright legislation and law. Drawing on classic pirate stories by such writers as Walter Scott, James Fenimore Cooper, Robert Louis Stevenson, and J. M. Barrie, this wide-ranging account demonstrates, in raucous tales and telling asides, how literary appropriation was celebrated at the very moment when the forces of possessive individualism began to enshrine the language of personal ownership in Anglo-American views of creative work.
All societies have their own myths and legends, but they're much more than just stories. Myths and legends tell us about a people’s history, science, and cultural values—the things they knew, the things they believed, and the things they felt were important. World Myths and Legends retells tales from the Middle East, Europe, Africa, Asia, Australia, and the Americas. From the Greek myths to ancient epics like Gilgamesh and the trickster tales of Anansi the Spider, it helps readers think about why the same themes, characters, and events may show up in different parts of the globe. Along the way kids will also find lots of fun and interesting projects that let them experience the stories first-hand. World Myths and Legends unveils wonders of the ancient world as it takes readers on a fascinating adventure of mystery and imagination.
Bill Martin's magnificent paintings have been exhibited in galleries and museums worldwide, and some have been reproduced in various publications over the last twenty years. Lost Legends is a long-awaited presentation of thiry-six of his compelling works, half of which have never been published before - but none of which have ever been published in this context. For here, Martin has written a story for each painting, providing a new vehicle through which we can view and absorb his pictures. These stories - myths that feel ancient and remembered, not newly invented - reveal the haughtiness of butterflies, the reason for the existence of evil people, and the fascination of Earth's son, Sculptor, with the color orange. Martin's finely detailed, technically brilliant paintings draw us into a universe where nature is all-powerful, where the unfamiliar and unexpected appear natural, and where we can take time to study individual poppy petals as well as stare in awe at the vastness of an artic skyscape.
Could the Great Pyramid of Giza be a repository of ancient magical knowledge? Or perhaps evidence of a vanished pre–Ice Age civilization? Misinformation and myths have attached themselves to the Egyptian pyramids since ancient Greece and Rome. While many Americans believe that the pyramids were built by aliens, archaeologists understand that the Giza pyramids were built by the pharaohs of the Fourth Dynasty around 2450 BCE. So why is there such a disconnect between scholarly opinion and the popular view of Egypt? In The Legends of the Pyramids, Jason Colavito takes us back to Late Antique Egypt, where the replacement of polytheism with Christianity gave rise to local efforts to rewrite the stories of Egyptian history in the image of the Bible. When the Arab conquest absorbed Egypt into the Islamic community, these stories then passed into Islamic historiography and reentered the West. Colavito's The Legends of the Pyramids lays open pop culture's view of Egypt in movies, TV shows, popular books, and New Age beliefs, detailing how the hidden history of Egypt has grown alongside the official history of archaeology and Egyptology.
Reprint of the original, first published in 1874.