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No comic author from the ancient world features the gods as often as Lucian of Samosata, yet the meaning of his works remain contested. He is either seen as undermining the gods and criticizing religion through his humor, or as not engaging with religion at all, featuring the gods as literary characters. His humor was traditionally viewed as a symptom of decreased religiosity, but that model of religious decline in the second century CE has been invalidated by ancient historians. Understanding these works now requires understanding what it means to imagine as laughing and laughable gods who are worshipped in everyday cult. In Lucian's Laughing Gods, author Inger N. I. Kuin argues that in ancient Greek thought, comedic depictions of divinities were not necessarily desacralizing. In religion, laughter was accommodated to such an extent as to actually be constituent of some ritual practices, and the gods were imagined either to reciprocate or push back against human laughter—they were never deflated by it. Lucian uses the gods as comic characters, but in doing so, he does not automatically negate their power. Instead, with his depiction of the gods and of how they relate to humans—frivolous, insecure, callous—Lucian challenges the dominant theologies of his day as he refuses to interpret the gods as ethical models. This book contextualizes Lucian’s comedic performances in the intellectual life of the second century CE Roman East broadly, including philosophy, early Christian thought, and popular culture (dance, fables, standard jokes, etc.). His texts are analyzed as providing a window onto non-elite attitudes and experiences, and methodologies from religious studies and the sociology of religion are used to conceptualize Lucian’s engagement with the religiosity of his contemporaries.
Apuleius’ tale of Cupid and Psyche has been popular since it was first written in the second century CE as part of his Latin novel Metamorphoses. Often treated as a standalone text, Cupid and Psyche has given rise to treatments in the last 400 years as diverse as plays, masques, operas, poems, paintings and novels, with a range of diverse approaches to the text. Apuleius’ story of the love between the mortal princess Psyche (or “Soul”) and the god of Love has fascinated recipients as varied as Romantic poets, psychoanalysts, children’s books authors, neo-Platonist philosophers and Disney film producers. These readers themselves produced their own responses to and versions of the story. This volume is the first broad consideration of the reception of C&P in Europe since 1600 and an adventurous interdisciplinary undertaking. It is the first study to focus primarily on material in English, though it also ranges widely across literary genres in Italian, French and German, encompassing poetry, drama and opera as well as prose fiction and art history, studied by an international team of established and young scholars. Detailed studies of single works and of whole genres make this book relevant for students of Classics, English, Art History, opera and modern film.
This monograph examines the literary representation of encounters between the living and the dead in Homer and the Roman epic poets of the early imperial period. The focus is on one particular situation: a witness to the afterlife (e.g. Odysseus or the Sibyl) who narrates encounters with the dead that he or she cannot (it would appear) actually have seen. This insufficiently studied and intriguing motif, namely seemingly impossible eye-witness testimony, can already be traced in Homer and then with variations in Vergil, the Culex poet, Lucan, Silius Italicus, and Statius. Die vorliegende Monographie untersucht die literarische Gestaltung von Begegnungen zwischen Lebenden und Toten bei Homer und den römischen Epikern der frühen Kaiserzeit. Im Mittelpunkt steht dabei eine besondere Situation: Ein Jenseitszeuge (z.B. Odysseus oder die Sibylle) berichtet von Begegnungen mit Toten, die er oder sie (scheinbar) nicht gesehen haben kann. Dieses unzureichend erforschte und faszinierende Motiv, nämlich die scheinbar unmögliche Autopsie, lässt sich bereits bei Homer und dann in Variationen bei Vergil, dem Culex-Dichter, Lucan, Silius Italicus und Statius nachweisen.
Frankenstein and Its Classics is the first collection of scholarship dedicated to how Frankenstein and works inspired by it draw on ancient Greek and Roman literature, history, philosophy, and myth. Presenting twelve new essays intended for students, scholars, and other readers of Mary Shelley's novel, the volume explores classical receptions in some of Frankenstein's most important scenes, sources, and adaptations. Not limited to literature, the chapters discuss a wide range of modern materials-including recent films like Alex Garland's Ex Machina and comics like Matt Fraction's and Christian Ward's Ody-C-in relation to ancient works including Hesiod's Theogony, Aeschylus's Prometheus Bound, Ovid's Metamorphoses, and Apuleius's The Golden Ass. All together, these studies show how Frankenstein, a foundational work of science fiction, brings ancient thought to bear on some of today's most pressing issues, from bioengineering and the creation of artificial intelligence to the struggles of marginalized communities and political revolution. This addition to the comparative study of classics and science fiction reveals deep similarities between ancient and modern ways of imagining the world-and emphasizes the prescience and ongoing importance of Mary Shelley's immortal novel. As Frankenstein turns 200, its complex engagement with classical traditions is more significant than ever.
Immortality was central to ancient philosophical reflections on the soul, happiness, value and divinity. Conceptions of immortality flowed into philosophical ethics and theology, and modern reconstructions of ancient thought in these areas sometimes turn on the interpretation of immortality. This volume brings together original research on immortality from early Greek philosophy, such as the Pythagoreans and Empedocles, to Augustine. The contributors consider not only arguments concerning the soul's immortality, but also the diverse and often subtle accounts of what immortality is, both in Plato and in less familiar philosophers, such as the early Stoics and Philo of Alexandria. The book will be of interest to all those interested in immortality and divinity in ancient philosophy, particularly scholars and advanced students.
Ever since its early modern inception as a literary genre unto its own, the fairy tale has frequently provided authors with a textual space in which to reflect on the nature, status and function of their own writing and that of literature in general. At the same time, it has served as an ideal laboratory for exploring and experimenting with the boundaries of literary convention and propriety. While scholarship pertaining to these phenomena has focused primarily on the fairy-tale adaptations and deconstructions of postmodern(ist) writers, this essay collection adopts a more diachronic approach. It offers fairy-tale scholars and students a series of theoretical and literary-historical expositions, as well as case studies on English, French, German, Swedish, Danish, and Romanian texts from the seventeenth to the twenty-first century, by authors as diverse as Marie-Catherine d’Aulnoy, Rikki Ducornet, Hans Christian Andersen and Robert Coover.
This is the first intermediate-student edition of a selection from Apuleius' Metamorphoses V. Sections 11–24 are included as Latin text with an accompanying commentary and vocabulary. Focusing on a deliberately concise extract from the original, this edition is designed to be manageable for students reading the text for the first time while also perfectly encapsulating the interest of the longer work and inspiring further study of it. A detailed introduction explains points of literary and stylistic interest, encompassing the beginning of the story, from Metamorphoses IV, section 28. Apuleius is considered one of the great Latin stylists. The tale of Cupid and Psyche, a story set within the larger narrative of his novel, the Metamorphoses, follows the romance of the god of love, Cupid, and his mortal lover, Psyche, brought to disaster by the wiles of Psyche's wicked sisters and the anger of Venus, but eventually reconciled. It is both an adventure story, and an allegory for the relationship between the soul and desire. The selection here contains some of the most hauntingly beautiful Latin prose which has come down to us and gives an unparallelled insight into the relationship between philosophy, religion, and art under the high empire.
The story of Roman Hellenism—defined as the imitation or adoption of something Greek by those subject to or operating under Roman power—begins not with Roman incursions into the Greek mainland, but in Italy, where our most plentiful and spectacular surviving evidence is concentrated. Think of the architecture of the Roman capital, the Campanian towns of Pompeii and Herculaneum buried by Vesuvius, and the Hellenic culture of the Etruscans. Perhaps “everybody knows” that Rome adapted Greek culture in a steadily more “sophisticated” way as its prosperity and might increased. This volume, however, argues that the assumption of smooth continuity, let alone steady “improvement,” in any aspect of Roman Hellenism can blind us to important aspects of what Roman Hellenism really is and how it functions in a given context. As the first book to focus on the comparison of Roman Hellenisms per se, Comparing Roman Hellenisms in Italy shows that such comparison is especially valuable in revealing how any singular instance of the phenomenon is situated and specific, and has its own life, trajectory, circumstances, and afterlife. Roman Hellenism is always a work in progress, is often strategic, often falls prey to being forgotten, decontextualized, or reread in later periods, and thus is in important senses contingent. Further, what we may broadly identify as a Roman Hellenism need not imply Rome as the only center of influence. Roman Hellenism is often decentralized, and depends strongly on local agents, aesthetics, and materials. With this in mind, the essays concentrate geographically on Italy to lend both focus and breadth to our topic, as well as to emphasize the complex interrelation of Hellenism at Rome with Rome’s surroundings. Because Hellenism, whether as practiced by Romans or Rome’s subjects, is in fact widely diffused across far-flung geographical regions, the final part of the collection gestures to this broader context.