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The elegiac poet Propertius responds in his verse to the complex changes that Rome underwent in his lifetime, taking on numerous topics of poetry, poetic and sexual rivalry, visual art, violence, imperialism, colonialism, civil war, the radical new emperor Augustus, and more. These essays, by well-known scholars of Roman elegy, offer new ways of reading Propertius' topics, attitudes, and poetics. This book begins with two distinguished essays by influential Propertian scholar Barbara Flaschenriem, who passed away unexpectedly. The other contributions, offered in her memory, are by Diane Rayor, Andrew Feldherr, Ellen Greene, Lowell Bowditch, Alison Keith, and volume editor Sharon L. James. These essays explore themes including Propertian didacticism, dream interpretation, visual art and formalism, sex and violence, Roman imperialism and its connection to the elegiac puella, and Propertius' engagement, in Book 4, with Vergil's poetry.
Malcolm Jameson's 'Golden Age Sci-Fi Series' is a seminal collection of 17 books that epitomize the golden age of science fiction literature. Known for his vivid storytelling and imaginative world-building, Jameson's works take readers on thrilling journeys through space, exploring themes of technology, humanity, and the unknown. His prose is engaging and filled with a sense of wonder, making it a must-read for fans of classic science fiction. Each book in the collection showcases Jameson's mastery of the genre and his ability to transport readers to new and exciting worlds. With a keen eye for detail and a knack for creating compelling characters, Jameson's writing is both thought-provoking and entertaining. It is evident that Jameson's passion for science fiction shines through in every page, making this collection a standout in the genre. Fans of classic science fiction will appreciate the depth and breadth of Malcolm Jameson's 'Golden Age Sci-Fi Series,' as it offers a compelling glimpse into the imagination of one of the genre's most influential authors.
From the mortal maidens of 1817 to the omnipotent goddesses of 1819, Keats uses successive female characters as symbols portraying the salvation and destruction, the passion and fear that the imagination elicits. Karla Alwes traces the change in these female figures—multidimensional and mysteriously protean—and shows that they do more than comprise a symbol of the female as a romantic lover. They are the gauge of Keats’s search for identity. As Keats’s poetry changes with experience, from celebration to denial of the earth, the females change from meek to threatening to a final maternal and conciliatory figure. Keats consistently maintained a strict dichotomy between the flesh-and-blood women he referred to in his letters and the created females of his poetry, in the same way that he rigorously sought to abandon the real for the ideal in his poetry. In her study of Keats’s poetry, Alwes dramatizes the poet’s struggle to come to terms with his two consummate ideals—women and poetry. She demonstrates how his female characters, serving as lovers, guides, and nemeses to the male heroes of the poems, embody not only the hope but also the disappointment that the poet discovers as he strives to reconcile feminine and masculine creativity. Alwes also shows how the myths of Apollo, which Keats integrated into his poetry as early as February 1815, point up his contradictory need for, yet fear of, the feminine. She argues that Keats’s attempt to overcome this fear, impossible to do by concentrating solely on Apollo as a metaphor for the imagination, resulted in his eventual use of maternal goddesses as poetic symbols. The goddess Moneta in "The Fall of Hyperion" reclaims the power of the maternal earth to represent the final stage in the development of the female. In combining the wisdom of the Apollonian realm with the compassion of the feminine earth, Moneta is more powerful than Apollo and able to show the poet who does not recognize both realms that he is only a "dreamer," one who "venoms all his days, / Bearing more woe than all his sins deserve." Because of Moneta’s admonishment, Keats becomes the poet capable of creating "To Autumn." In this final ode, Keats taps the transcendent power inherent in the temporal beauty of the earth. His imagination, once attempting to leave the earth, now goes beyond the Apollonian ideal into the realm of salvation—the human heart—that connects him to the earth. And because of his poetic reconciliation between heaven and earth, Keats is ultimately able to portray an earthly timelessness in which "summer has o’er-brimmed" the bees’ "clammy cells," making for "warm days [that] will never cease."
At times Winterowd is playful, and at other times he's the mordantly cynical critic--of the academy, of academicians, and of society in general. His attitudes are leavened by wit, and his insights are never mundane. ATTITUDES is for anyone who has become jaded by the gray monotone of much writing in our profession.
Four vampires. Four Rock stars. All hers. My favorite rock band, Timeless Chains, is famous for their sinfully good looks and the mystery surrounding them. Anyone staying past midnight at their afterparties forgets the night. With my finals starting in a few days, I can't risk memory loss, but I can leave early. Or so I think. With girls hanging themselves on the band members, I don't even consider trying to get their attention. With my curves, they're out of my league. Golden, the bassist, doesn't seem to care. One passionate kiss and I forget all about my finals. Until Roan, the lead singer, walks in on us, his fangs out. I run out of the party so fast I leave my shoes behind, but they're the least of my problems. My friend's car isn't in the parking lot, and midnight is minutes away. Worse than that, Golden had bitten my lip, and suddenly, I'm craving blood. Now Hart, Blister, Roan, and Golden can't decide if they want me dead or in their beds. While they argue about me, all I can think about is that the vampire curse binds to magic, and I'm just a normal human girl. Aren't I? Bite of Cinder is book one in the paranormal reverse harem series featuring vampires, werewolves, dragon shifters, fae, witches, warlocks, and more. In this fairy tale retelling romance you can expect bbw curvy strong heroine as Cinderella, enemies to lovers and instalove why choose with humor and a touch of darkness. M/m/f without MM action. Urban fantasy setting. Heroes covered in tattoos. Royalty. And a mystery that needs solving. For fans of J Bree, Jasmine Mas, and Tessa Hale
Born in 70 BCE, the Roman poet Vergil came of age during a period of literary experimentalism among Latin authors. These authors introduced new Greek verse forms and metres into the existing repertoire of Latin poetic genres and measures, foremost among them being elegy, a genre that the ancients thought originated in funeral lament, but which in classical Rome became first-person poetry about the poet-lover’s amatory vicissitudes. Despite the influence of notable elegists on Vergil’s early poetry, his critics have rarely paid attention to his engagement with the genre across his body of work. This collection is devoted to an exploration of Vergil’s multifaceted relations with elegy. Contributors shed light on Vergil’s interactions with the genre and its practitioners across classical, medieval, and early modern periods. The book investigates Vergil’s hexameter poetry in relation to contemporary Latin elegy by Gallus, Tibullus, and Propertius, and the subsequent reception of Vergil’s radical combination of epic with elegy by later Latin and Italian authors. Filling a striking gap in the scholarship, Vergil and Elegy illuminates the famous poet’s wide-ranging engagement with the genre of elegy across his oeuvre.