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Fun math puzzles based on the Twelve Labors of Hercules How might Hercules, the most famous of the Greek heroes, have used mathematics to complete his astonishing Twelve Labors? From conquering the Nemean Lion and cleaning out the Augean Stables, to capturing the Erymanthean Boar and entering the Underworld to defeat the three-headed dog Cerberus, Hercules and his legend are the inspiration for this book of fun and original math puzzles. While Hercules relied on superhuman strength to accomplish the Twelve Labors, Mythematics shows how math could have helped during his quest. How does Hercules defeat the Lernean Hydra and stop its heads from multiplying? Can Hercules clean the Augean Stables in a day? What is the probability that the Cretan Bull will attack the citizens of Marathon? How does Hercules deal with the terrifying Kraken? Michael Huber's inventive math problems are accompanied by short descriptions of the Twelve Labors, taken from the writings of Apollodorus, who chronicled the life of Hercules two thousand years ago. Tasks are approached from a mathematical modeling viewpoint, requiring varying levels of knowledge, from basic logic and geometry to differential and integral calculus. Mythematics provides helpful hints and complete solutions, and the appendixes include a brief history of the Hercules tale, a review of mathematics and equations, and a guide to the various disciplines of math used throughout the book. An engaging combination of ancient mythology and modern mathematics, Mythematics will enlighten and delight mathematics and classics enthusiasts alike.
Curious about the chains that bound Fenriswulf in Norse mythology? Or the hut of Baba Yaga, the infamous witch of Russian folklore? Containing more than one thousand detailed entries on the magical and mythical items from the different folklore, legends, and religions the world over, this encyclopedia is the first of its kind. From Abadi, the named stone in Roman mythology to Zul-Hajam, one of the four swords said to belong to the prophet Mohammed, each item is described in as much detail as the original source material provided, including information on its origin, who was its wielder, and the extent of its magical abilities. The text also includes a comprehensive cross-reference system and an extensive bibliography to aid researchers.
This book is an Anthology of Gregory Lessing Garrett's writings and others on the topic of Flat Earth Plane Cosmology of all types, including Enclosed Earth, Hollow Earth, Concave Earth, Infinite Plane Earth, The Enochian Earth Model, etc... The hope is that the ideas expounded in this Flat Earth Trilogy series will provide compelling justifications for the claim that no curvature can be found on the Earth, which points to the empirical conclusion that we live on a plane and not a spinning ball in science fiction outer space. The details regarding the possible topography of the Earth are discussed in depth in this book, but ultimately, the absolute true topography of the Earth is not known by anyone. -Gregory Lessing Garrett
Mormonism's founder, Joseph Smith, claimed to have translated ancient scriptures. He dictated an American Bible from metal plates reportedly buried by ancient Jews in a nearby hill, and produced an Egyptian "Book of Abraham" derived from funerary papyri he extracted from a collection of mummies he bought from a traveling showman. In addition, he rewrote sections of the King James Version as a "New Translation" of the Bible. Smith and his followers used the term translation to describe the genesis of these English scriptures, which remain canonical for the Church of Jesus Christ of Latter-day Saints. Whether one believes him or not, the discussion has focused on whether Smith's English texts represent literal translations of extant source documents. On closer inspection, though, Smith's translations are far more metaphysical than linguistic. In Joseph Smith's Translation, Samuel Morris Brown argues that these translations express the mystical power of language and scripture to interconnect people across barriers of space and time, especially in the developing Mormon temple liturgy. He shows that Smith was devoted to an ancient metaphysics--especially the principle of correspondence, the concept of "as above, so below"--that provided an infrastructure for bridging the human and the divine as well as for his textual interpretive projects. Joseph Smith's projects of metaphysical translation place Mormonism at the productive edge of the transitions associated with shifts toward "secular modernity." This transition into modern worldviews intensified, complexly, in nineteenth-century America. The evolving legacies of Reformation and Enlightenment were the sea in which early Mormons swam, says Brown. Smith's translations and the theology that supported them illuminate the power and vulnerability of the Mormon critique of American culture in transition. This complex critique continues to resonate and illuminate to the present day.
Winner of the 2022 NAAP Gradiva Award for Best Edited Book In this volume, internationally acclaimed psychoanalysts, philosophers, and scholars of humanities examine the mind-body problem and provide differing analyses on the nature of mind, unconscious structure, mental properties, qualia, and the contours of consciousness. Given that disciplines from the humanities and the social sciences to neuroscience cannot agree upon the nature of consciousness—from what constitutes psychic reality to mental properties, psychoanalysis has a unique perspective that is largely ignored by mainstream paradigms. This book provides a comprehensive exploration of the mind-body problem in various psychoanalytic schools of thought, including philosophical and metapsychological points of view. Psychoanalysis and the Mind-Body Problem will be of interest to psychoanalysts, philosophers, neuroscientists, evolutionary biologists, academics, and those generally interested in the humanities, cognitive science, and the philosophy of mind.
In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.
"Here there be dragons"--this notation was often made on ancient maps to indicate the edges of the known world and what lay beyond. Heroes who ventured there were only as great as the beasts they encountered. This encyclopedia contains more than 2,200 monsters of myth and folklore, who both made life difficult for humans and fought by their side. Entries describe the appearance, behavior, and cultural origin of mythic creatures well-known and obscure, collected from traditions around the world.