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Our earliest written sources for Greek mythology, Homer’s Iliad and Odyssey, feature women prominently as drivers of the narratives. Though they occupy a variety of roles and speak eloquently for themselves in every role, these women have been obscured by the assumption that each epic’s central hero, Achilles and Odysseus, respectively, is also its singular hero. And yet, the story of the Iliad is not the story of Achilles, just as the story of the Odyssey is not the story of Odysseus alone. Contrary to centuries of reception, the epics are not only about fearless yet flawed men but rather explore and develop the contours of belonging and community in times of war and peace.The Epic Women of Homer untangles the women of the Iliad and the Odyssey from centuries of narrative constraints to recover their essential meaning and importance. In the process, The Epic Women of Homer challenges the commonplace assumption that the Homeric hero is ‘an individual’ who fights for ‘personal glory’, a misconception further fuelled by a lack of understanding of the oral tradition out of which Homer’s epics emerged in which linguistic and thematic patterning exists at every level. Analysing Homer’s goddesses and heroes through the lens of these patterns, their recurrence and variation reveal them to be preeminent in a wide range of skills, all of which are necessary, and yet the essence of each is in their relationships with others.The Epic Women of Homer re-establishes these goddesses and heroines to their esteemed positions in ancient Greece and reintroduces them to the modern world.

A collection of 25 short poems constituting an appeal for peace and understanding between Greek and Turkish communities in Cyprus, with facing translations into Turkish and English. There are biographical notes on the author and the two translators, "In place of a prologue" before the poems, and "In place of an epilogue" and "Plus an essay" at the end; all these items are, like, the poems, in all three languages. The essay develops the theme of the poems in a more direct and explicit manner.

Who am I? That is one of life’s deepest questions, common to us all, and it can be the work of a lifetime to find the answer. In The Art of Spiritual Writing, Eirene Palmer and Richard Palmer, both published authors and leaders of Christian spiritual retreats, demonstrate how clearer self-awareness can come through the practice of writing. This practical, friendly, transformative book offers a treasure trove of ideas to help you write about your spiritual life from that deep reflective place that is inside each of us.It shows you how your writing can help you explore your own journey, past, present and future, exploring those areas of unique individual interest and maybe recording your story for others. It will help you to discover the value of writing meditative and reflective work, as well as the benefits of writing for therapy and prayer. It also provides invaluable advice, good journalling practices, and tips for encouraging readers to get into the habit of daily writing and reflection.

Jorrik Fulda entwickelt in dieser Arbeit eine Zwei-Zyklen-Theorie,die in der aktuellen Konstellation zwischenMacht (insb.

Emotion in Action: Thucydides and the Tragic Chorus offers a new approach to the tragic chorus by examining how certain choruses ‘act’ on their shared feelings. Eirene Visvardi redefines choral action, analyzes choruses that enact fear and pity, and juxtaposes them to the Athenian dêmos in Thucydides’ History. Considered together, these texts undermine the sharp divide between emotion and reason and address a preoccupation that emerges as central in Athenian life: how to channel the motivational power of collective emotion into judicious action and render it conducive to cohesion and collective prosperity. Through their performance of emotion, tragic choruses raise the question of which collective voices deserve a hearing in the institutions of the polis and suggest diverse ways to envision passionate judgment and action.

Diderot was one of the most important philosophical thinkers of the French Enlightenment. His works are also milestones in theater history. This book is the first study to contextualize Diderot’s acting theory, as presented in the Paradoxe sur le comédien, within the broader landscape of eighteenth-century material culture, centering on four humanoid objects: the automaton, the statue, the jumping jack, and the mannequin, which Diderot employs as metaphors to articulate his ideas on acting. The book shows how the metaphorical use of these four objects is shaped by their material characteristics and distinct functionality in everyday life.Diderot’s humanoid objects demonstrates that a deep dive into eighteenth-century material culture is necessary to fully acknowledge Diderot’s aesthetic and anthropological concept of the ideal actor/actress. Thus, the book recovers aspects of Diderot’s acting theory that have been eclipsed by subsequent theater practitioners and theoreticians interested in humanoid objects as role models for actors (such as Kleist, Craig, Meyerhold or Schlemmer). It also sheds new light on the humanoid objects present in Diderot’s novels and Salons, thereby offering fresh insights into how people in the eighteenth century understood themselves in relation to mechanisms or machines – be it in cultural, societal or political contexts.